|4. (First Movement)|
|5. Andante - Allegretto Tranquillo - Andante|
|6. Allegro Assai|
|11. Adagio Ma Non Tanto E Dolce|
|12. Tempo Di Alla Breve|
What stood out listening to this music was - not only Angela Hewitt's elagantly relaxed pianism - but the lucid and highly composed performance of the Australian Chamber Orchestra. The ACO is an impressive and 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 lovely compliment to Hewitt and Tognetti but shine as excellent soloists in themselves. The Hyperion recording captures all three solists in a really gorgeous sound quality that is inspiring. But, certainly the main attraction is Hewitt here. Her carefree and fluid style and always-tasteful decorative touches bring a lighthearted joy to these grand works. Her candenza in the Brandenburg 5th sparkles with life. In these concertos, Miss Hewitt clearly shows her familiarity and total comfort with Bach and, with the ACO, gives readings that have an appealing "Spring-like" freshness and gentleness to them that are a delight to the ear.
This disc scored a 10/10 for Performance/Sound Quality from ClassicsToday and a 5/5 from BBC Music. Most major reviewers in the press seem to emphasise on how truly enjoyable these performances are to hear - in spite of being very familiar with these concertos. That was my take too and, now hearing both discs many times now, I cannot say there are any dull spots or uninspirining movements in either - although Vol. I is more on the sprightly side. Out of Hewitt's entire discography, this CD is in my favorite. Total time for either disc about 77 minutes.
Here's what Gramophone had to say about this CD: "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."
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