Hewitt: Bach – The Keyboard Concertos vol.1, 2 (2 CD, FLAC)

Composer: Johann Sebastian Bach
Performer: Angela Hewitt, Emma Sholl, Alison Mitchell
Orchestra: Australian Chamber Orchestra
Audio CD
SPARS Code: DDD
Number of Discs: 2
Format: FLAC (image+cue)
Label: Hyperion
Size: 593 MB
Recovery: +3%
Scan: no

# Concerto for harpsichord, strings & continuo No. 1 in D minor, BWV 1052
Composed by Johann Sebastian Bach
Performed by Australian Chamber Orchestra
with Angela Hewitt

# Concerto for harpsichord, strings & continuo No. 7 in G minor, BWV 1058
Composed by Johann Sebastian Bach
Performed by Australian Chamber Orchestra
with Angela Hewitt

# Brandenburg Concerto No. 5 in D major, BWV 1050
Composed by Johann Sebastian Bach
Performed by Australian Chamber Orchestra
with Alison Mitchell, Richard Tognetti, Angela Hewitt

# Concerto for flute, violin, harpsichord, strings & continuo in A minor (“Triple”), BWV 1044
Composed by Johann Sebastian Bach
Performed by Australian Chamber Orchestra
with Alison Mitchell, Richard Tognetti, Angela Hewitt

# Concerto for harpsichord, strings & continuo No. 4 in A major, BWV 1055
Composed by Johann Sebastian Bach
Performed by Australian Chamber Orchestra
with Angela Hewitt

# Concerto for harpsichord, strings & continuo No. 3 in D major, BWV 1054
Composed by Johann Sebastian Bach
Performed by Australian Chamber Orchestra
with Angela Hewitt

# Concerto for harpsichord, strings & continuo No. 2 in E major, BWV 1053
Composed by Johann Sebastian Bach
Performed by Australian Chamber Orchestra
with Angela Hewitt

# Concerto for harpsichord, strings & continuo No. 5 in F minor, BWV 1056
Composed by Johann Sebastian Bach
Performed by Australian Chamber Orchestra
with Angela Hewitt

# Concerto for harpsichord, 2 recorders, strings & continuo No. 6 in F major, BWV 1057
Composed by Johann Sebastian Bach
Performed by Australian Chamber Orchestra
with Emma Sholl, Alison Mitchell, Angela Hewitt

Hewitt’s Crowning Jewel

The keyboard concertos are the last chapter in Angela Hewitt’s monumental traversal of the major keyboard works of J.S. Bach – and may well be the crowning jewel in the entire series. (This of course assuming you prefer your Baroque served up on the piano versus the traditional harpsichord). In these concertos, Hewitt teams with the Australian Chamber Orchestra which she directed from a Fazioli Concert Grand (her other recordings were done on a Steinway).

The smaller ACO and Hewitt’s gentle and sensitive playing create a more intimate, chamber-like dialog that I found quite appealing. In the scoring, Hewitt and ACO leader Richard Tognetti chose to retain the harpsichord continuo for maximum “Baroque flavor,” but assigning it to more background fill around her prominent solo lines. Some will like this aspect, others might not.

What stood out to me listening to this music was – not only Angela Hewitt’s graceful pianism – but the lucid performance of the Australian Chamber Orchestra. The ACO is an equal co-star in these fine recordings and match Ms. Hewitt’s style and temperament nicely in this music. In particular, Richard Tognetti’s violin solos are a very attractive highlight in two concertos. The sound he produces from the 1759 Guadagnini he uses is radiant. In the Brandenburg and the Triple Concerto, the two (modern) flutes not only give a truly enchanting compliment to Hewitt and Tognetti but shine as excellent soloists in themselves with an irresistable sonority and fluidity. The Hyperion recording captures all three solists in a superb sound quality.

But, certainly the main attraction is Miss Hewitt as soloist here. Hewitt is not known for bravura or overwhelming effects, but a more delicate, lyrically-rich, lilting and “heart-felt” pianism. Her always-tasteful decorative touches bring a lighthearted joy to these grand works. Her candenza in the legendary Brandenburg 5th may be more sublime than flashiness yet sparkles in its own. In these concertos, Miss Hewitt clearly shows her familiarity and total comfort with Bach and, with the ACO, gives readings that are ever-fresh and timeless. Many major reviewers in the music press seem to emphasise on how truly enjoyable these performances were to hear – in spite of being very familiar with these concertos over many years with great performances from the likes of Perahia, Pinnock, Schiff and others.

This disc scored a 10/10 for Performance/Sound Quality from ClassicsToday and a 5/5 from BBC Music. Gramophone gave it their “Gem” award. Even the non-SACD sound is great. Total time for either disc about 77 minutes. Note also that Vol. I and Vol. II are now offered together in a two-CD set. Compositions – 5 stars; Performance – 5 stars; Sound – 5 stars.

Here’s Gramophone take: “Hewitt’s playing is absolutely captivating; she decorates the solo part with playful, come-hither ornamentation – twirls, flutters, arabesques – and yet it never disturbs the clear, logical path she forges through the course of each work. Her staccato touch has the force of sprung steel and yet her legato line is a miracle of smoothness and transparency. An absolute joy.”

The Lightness of Joy

Not being a musician, I cannot comment on any technical aspect of the performers’ playing (except that the concertos sound just fine with a piano used as a solo instrument and a harpsicord used only as continuo).

However, having now listened to both volumes of the Keyboard Concertos several times, I know how they affect me – every time I listen, I feel better…lighter…simply more joyful.

George Leigh Mallory — he of “Because it’s there” Mount Everest fame — also said what must surely apply to these performances: “What we get from this … is just sheer joy. And joy is, after all, the end of life. We do not live to eat and make money; we eat and make money to be able to enjoy life. That is what life means and what life is for.”

I saw Ms. Hewitt at Strathemore in Md.- “Goldberg Variations”.
Something I have not heard her mention- the linage to Glenn Gould- a fellow Canadian- one hesitates to say she does it better- but she definitely stands on Glenn’s shoulders…just as Fazioli pianos stand on the shoulders of Steinways.
But naturally- she does do it better- she has the talent. I can’t imagine the person who will come along next?!?!?!?
Her Bach is the next great thing after Glenn. In her master classes on You Tube, she sort of puts down the G G detached style- and yet…she uses it too; some times.
Her concertos are delicate and expressive and full of additions Bach would surely love. She varies the dynamics. Her Australian co mates do the concertos justice with no nonsense baroque punctuation…there is no lingering and no drawn out finales.
Just fabulous.

2006 Gramophone “Artist of the Year”

Sometimes it is hard to decribe exactly what truly makes a great performance, but when many elements come together so splendidly as they do here, you immediately recognize it. These concertos are fresh and effervescent in every aspect – from Ms. Hewitt’s delicate, poised articulations to the beautiful orchestral compliment from the ACO to the excellent Hyperion-engineered sound.

Hewitt chose the Australian Chamber Orchestra after playing these works for many months with several orchestras around the world. Just hearing the first few bars of the first movement of the 6th concerto reveals how perfect Hewitt and the ACO are for each other and this music. The ACO’s style and judgment are always in pefect compliment to Hewitt’s playing – never overwhelming or underwhelming her gorgeous lines. If you prefer the more intimate dialog and effect of a smaller orchestra compared to the drama and power of a larger one, these performances should delight. There is a wonderful, chamber-like interaction and relaxed musicianship here that makes these performances rather irresistable and highly refreshing.

Compared to other “reference” recordings, there is more of a carefree flow of tempo – and really charm – in the Hewitt/ACO performances which have a Spring-like freshness in their appeal. Hewitt’s playing is both delicate but completely commanding at the same time and blends wonderfully with the feathery tones of the two flute soloists and Richard Tognetti’s masterfully appealing violin interludes. All use modern instruments, yet retain appropriate period mannerisms with sonorities that are beautiful, enhanced by superb Hyperion sound engineering. While Miss Hewitt could easily take over with her powerful Fazioli Concert Grand, she use finesse and nuance to create a more gentle interaction with the lithe ACO.

Having ten years of Bach recordings under her belt shows clearly in Hewitt’s natural, at-one flow with the music – like she has penetrated the life within the music and just exudes it the most natural and intended manner like breathing. Her lines are sure and elegant and her ornamentations support the overall melody in the most delightful way that does not draw attention to the performer. Her bass ‘flutters’ are particularly appealing and inject nuances of artistry and excitement. This is music of top caliber and performances to be celebrated that have a timeless, ever-fresh quality that should wear well through the years. Such performances as this are one reason Miss Hewitt won the 2006 Gramophone “Artist of the Year” award.

The music industry reviews of these July ’05 releases were on the positive side overall. ClassicsToday gave both CD’s glowing reviews and a perfect 10/10 for Artistry/Sound Quality with Gramphone giving both discs the highest “Gem” award. Sound quality is excellent with even the non-SACD sounding brilliant and without fault (perfect balance, clarity of solists and depth of tonal textures). And with these concertos, Miss Hewitt completes her decade-long Bach traversal with a grand crescendo. Note: Both discs are available in one set as well. A real winner. Compositions – 5 stars; Performance – 5 stars; Sound quality – 5 stars.