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6 of 6 people found the following review helpful:
5.0 out of 5 stars
The first of Hewitt's monumental Bach cycle, 25 Mar 2006
Recorded in 1994, this is the first of Canadian pianist Angela Hewitt's traversal of Bach's major keyboard works. The program ranges from the more simple of Bach's compositions (Two-Part Inventions) to some of the most trecherous, virtuostic masterpieces (the two fantasias). Written by Bach for his son and students around 1723, the Two-Part and Three-Part Inventions form the foundational know-how and skills of Bach's countrapuntal keyboard art. For centuries now these works have been essential for any piano student learning the "basics" of figuration, melodic line, smooth legato, clarity of two and three voices and so on. As such they are pre-requisite for learning the more complex preludes and fugues of "The Well-Tempered Clavier." Like the pieces in the WTC, both sets of Inventions show Bach as both a master educator and deft lyricist with their range of emotive qualities. There is delicacy, pensiveness, vivacity, virtuosity and sorrow expressed in these miniatures - all while building the foundational skills (like seamless legato w/o use of the pedal) necessary for performing the major piano repertoire. Pianists worldwide owe a world of gratitude for Johann Sebastian Bach for such foundations in western music. I'm not sure if it is Bach's skillful writing or Miss Hewitt's skillful and varied expressive playing, but these so-called "piano excercises" sound anything but that. Likely, it is both of the above factors. It was in this first recording that Hewitt showed the music world her ever-so delicate, poised and artistic pianistic mannerisms, transforming these student pieces into delightful little concerts in themselves. As such, her readings here are worthy role models for students focusing on the long, clear, lyrical line that is essential to Bach's music. But what she most brings to this music is her subtle and enticing rubato and dynamic shading and artistic variety in tone that creates more of an unfolding story within the music than a mere "finger dexterity exercise." Gramophone recognized this sensitive musical aspect too and gave this CD a solid recommendation. But the "appetizer" and "dessert" of this menu are the virtuostic Fantasias which open and close the program. Both show Bach as master of the extemporaneous "Style Fantasticus" most likely gleaned in his youth from his visit to hear the great organist, Buxtahude. Even in Bach's day supposedly, the great Chromatic Fanasia in D-minor was among his most popular piece as it is today. Both are hugely entertaining, daunting works played to perfection by Hewitt. As noted by Gramophone, "her readings of the fantasias are as eloquent and stimulating as any yet recorded by a harpsichordist." Also in support of the pianist is a fine recording ambiance by Hyperion that is hard to fault in any way. Its rather ironic that this first CD of Hewitt's Bach recordings was the last of her entire discography I acquired. But even after hearing all her glorious performances of Bach's music - from the WTC and Goldbergs to the Toccatas, Suites and Keyboard Concertos - hearing these earlist and more simple pieces still brings great refreshment and satisfaction that is so common in Bach's music - and so common too in Angela Hewitt's masterful and colorful playing of them. Compositions - 4.5 stars, Peformance - 5 stars, Sound - 5 stars.
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3 of 4 people found the following review helpful:
5.0 out of 5 stars
Bach in fine style, 8 Mar 2001
By A Customer
It seems highly likely that these 'Inventions' were composed by Bach with his pupils in mind, intending them as exercises or studies which would help them to understand and perform his more impressive works, at a later stage. They are by nature therefore, rather technical pieces and to make them into a pleasuable musical experience is not an easy task. Miss Hewitt overcomes this problem with ease however and gives us a feast of musicality not often heard in this type of Bach. This, combined with her usual flawless performance technique, makes for most agreeable listening and I would commend this recording to anyone. Students coming to Bach for the first time particularly, could learn a lot about how to make his music live. The two more major works are,of course, played with equal fire, charm and dexterity.
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8 of 14 people found the following review helpful:
2.0 out of 5 stars
technical workouts rather than beautiful lyricism, 28 May 2001
Hewitt refuses to let a phrase speak for itself during the whole performance. She feels the need to undulate, exaggerate with crescendos and dimuendos at each juncture. The tempi chosen are either excessively fast (e.g. the C minor 3-part invention) or excruciatingly slow (e.g. the B minor 3-part invention). The technique is almost too flawless, too much power in the fingers creating a forced tone, ungentle tone in louder passages. I can't quite understand the choice of the splattered trill in the far too fast 1st Invention in C or the all too ungentle rendering of the A minor invention. These pieces are written by J.S. Bach who never wrote anything solely as a technicial workout. They really are wonderful lyrical masterpieces and to hear them treated as such listen to Glenn Gould's recording of them. His recording has its faults, true, but the overall affect it overwhelingly more touching.
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