Bach: The Keyboard Concertos, Vol. 2

Editorial Reviews

Barnes & Noble - EJ Johnson
The first thing you'll notice about Angela Hewitt's Bach keyboard concertos is their delicacy. That shouldn't come as a surprise, really, as the acclaimed Canadian pianist is known for the clarity and grace of her playing, in repertoire ranging from Ravel to Bach, whose keyboard works she has now recorded in their entirety. Still, the performances here -- backed by the Australian Chamber Orchestra -- are remarkably refined, creating moods of mesmerizing suspense and offering a pleasing alternative to the more rhythmically aggressive style of many of today's early-music mavens. The first volume contains the concertos in D and G Minor which are also familiar in their ...
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Editorial Reviews

Barnes & Noble - EJ Johnson
The first thing you'll notice about Angela Hewitt's Bach keyboard concertos is their delicacy. That shouldn't come as a surprise, really, as the acclaimed Canadian pianist is known for the clarity and grace of her playing, in repertoire ranging from Ravel to Bach, whose keyboard works she has now recorded in their entirety. Still, the performances here -- backed by the Australian Chamber Orchestra -- are remarkably refined, creating moods of mesmerizing suspense and offering a pleasing alternative to the more rhythmically aggressive style of many of today's early-music mavens. The first volume contains the concertos in D and G Minor which are also familiar in their versions for solo violin, the Fifth Brandenburg, and the A Minor Triple Concerto, the latter two featuring soloists Alison Mitchell and Richard Tognetti on flute and violin as well as harpsichord continuo in the Brandenburg -- an uncommon blend of old and new. Volume Two takes in the five remaining works, several of which are also better known as violin concertos, and concludes with Bach's F Major adaptation of the Fourth Brandenburg, with the piano replacing the solo violin. Bach buffs will want both discs, of course, as will those who have collected the previous offerings in Hewitt's splendid Bach cycle. But the pianist's unerringly musical approach transcends niche appeal, and music lovers of all kinds are encouraged to take pleasure in her exceptional achievement.
All Music Guide - Patsy Morita
This second volume of the keyboard concertos of J.S. Bach from Angela Hewitt, violinist/conductor Richard Tognetti, and the Australian Chamber Orchestra is delightful. As always, Hewitt's Bach is graceful, not too delicate; short but not sharp; with just enough shading with dynamics and pedal to give it a degree of depth and richness that enhances the music rather than over-dramatizes it. What is really pleasing about these performances is how incredibly well-matched and balanced the orchestra is with the piano. Tognetti makes sure all the players have a similar shortness in their articulation and a similar soft-edged tone. The balance of the recording lets the piano come just to the fore, never in danger of overpowering the chamber orchestra. In the "Concerto No. 6," the piano is much more a part of the orchestra, less of a soloist, a response to this concerto's being a transcription of the "Brandenburg No. 4." The two flutists on the concerto, Alison Mitchell and Emma Sholl, are also well matched. Tognetti gives all the faster movements of the concertos light, animated, dancing tempos, while the slower movements are more song-like. The opening of the "Concerto No. 3," which can be stern and forceful, here is jaunty and positive. It's a combination of Hewitt's, Tognetti's, and the orchestra's skillful playing and that optimism in their interpretations that make this album so extremely agreeable and enjoyable.
Gramophone - Nalen Anthoni
[September 2005 CD of the Month] Interpretive decisions are intelligently applied; and Hewitt is at her best in the slow movements, all of which are played with the finest sensibility.... A superb pair of discs.
Classic FM Magazine - Emma Baker
[July 2005 Disc of the Month] Sparkling interpretations of these works. [Hewitt] taps into the dance rhythms at the heart of Bach's music with a joyful, light touch and crisply articulated phrases. She also breathes a sustained, singing melodic line through the slow movements.

[September 2005 CD of the Month] Interpretive decisions are intelligently applied; and Hewitt is at her best in the slow movements, all of which are played with the finest sensibility.... A superb pair of discs.
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Product Details

  • Release Date: 7/12/2005
  • Label: Hyperion Uk
  • UPC: 034571173085
  • Catalog Number: 67308
  • Sales rank: 159,083

Tracks

Disc 1
  1. 1–3 Concerto for harpsichord, strings & continuo No. 4 in A major, BWV 1055 - Johann Sebastian Bach & Australian Chamber Orchestra (13:40)
  2. 4–6 Concerto for harpsichord, strings & continuo No. 3 in D major, BWV 1054 - Johann Sebastian Bach & Australian Chamber Orchestra (16:11)
  3. 7–9 Concerto for harpsichord, strings & continuo No. 2 in E major, BWV 1053 - Johann Sebastian Bach & Australian Chamber Orchestra (19:13)
  4. 10–12 Concerto for harpsichord, strings & continuo No. 5 in F minor, BWV 1056 - Johann Sebastian Bach & Australian Chamber Orchestra (9:44)
  5. 13–15 Concerto for harpsichord, 2 recorders, strings & continuo No. 6 in F major, BWV 1057 - Johann Sebastian Bach & Australian Chamber Orchestra (16:34)
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Album Credits

Performance Credits
Angela Hewitt Primary Artist
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