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Bach: The Six Partitas / Angela Hewitt

Description

Sometimes it helps not to specialize. As Angela Hewitt expands her horizons beyond Bach, her Bach, paradoxically, has ripened tenfold, as revealed in this magnificent set of partitas. One listens in vain for a single slip-up in timing or voicing. Articulation is marvelously varied, but never for the sake of variety itself. More to the point, the music's dancelike subtexts bring out a more deeply felt, emotionally three-dimensional music-making than encountered in Hewitt's previous Bach efforts. This gifted pianist has come into her own. Hear her. --Jed Distler

Reviews

Rating: 5 / 5
Date: 2009-02-04
Summary: "EXTRAORDINARY"

This criticizes it is good for BACH'S work played by Angela Weitt: Perfect tempos, perfect interpretation. wonderful cantabiles in the whole work, beautiful rubatos of a nonpareil sweetness. It is noticed that you inspires and the great GOULD. The quality of the sound is good but it should be better, Hyperion should be bought an apparatus of 24bits as harmoniamundi or sony.

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Rating: 5 / 5
Date: 2007-09-16
Summary: "Timeless music and performance"

The keyboard music of JS Bach is a vast treasure chest of discovery, variety and wealth. The craftsmanship and inventiveness of Bach only gets more impressive the longer one explores the depths. So much of such timeless compositions is experienced in Bach's first pieces to be published, The Partitas (a partita is solo instrumental work of a series of movements aka: 'suite').

Along with the Tocattas and many a preludes or fugue, the Partitas are amoung the Bach's more "weighty" and complexly conceived solo keyboard pieces. The earlier French Suites are more towards the delicate, refined manners of French aristocracy while the English Suites are something in between with their more dramatic opening Preludes yet heartfelt Sarabande movements. These along with the WTC I, II and many other suites form a masterful wealth of music that is timeless in its beauty and ability, as Bach purposed, "to refresh the soul."

It is with recordings like this that Angela Hewitt gained such a broad following with the average public (eg: 2007 Gramophone Artist of the Year). Miss Hewitt's performances are beautifully expressive, quite intelligent in overall conception, elegant as usual and non-idiocyncratic. Plus, the Hyperion recording is among the better in her traversal of Bach's major keyboard works. The recording garnished fine reviews in the UK press. Barring one's preference to a favorite pianist, Angela Hewitt's Bach recordings in general are top recommendations. Amoung them, the Partitas stands amoung the best - due to Bach's genius combined with Hewitt's delectable performances full of tasteful touches, clarity, poise and very realistic piano sound in the recording. Compositions - 5 stars; Performances - 5 stars; Sound quality - 4 stars.

For harpsichord recordings of Bach's Partitas, the 1999 recording by Trevor Pinnock is extraordinary and a more modern landmark for these compositions.

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Rating: 5 / 5
Date: 2007-08-01
Summary: "WONDERFUL PARTITAS"

J. S. Bach's partitas have always been my favorite keyboard works by that composer. They are filled with so many beautiful melodies, harmonies and wonderful rhythms; they are the epitome of contrapuntal keyboard writing. For many years now I've listened to them played mainly on the harpsichord. What a pleasure it is to hear these works on the modern piano as played by Angela Hewitt.

Angela Hewitt plays the Partitas magnificently. Her articulation is supreme--so rhythmic and clean sounding. The ornamentations (trills, grace notes, etc) are given in a effortless manner. Her use or non use of the pedal is exemplary. I truly loved this album!

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Rating: 5 / 5
Date: 2007-07-19
Summary: "Another Amazing Angela Album"

Ms. Hewitt has once again managed to blow us away with another stunning perfect interpretation of Bach's Partitas. This is an excellent record for anyone learning Bach (especially those having problems with phrasing and counterpoint) or simply for enjoyment.

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Rating: 3 / 5
Date: 2005-07-12
Summary: "Good work without much personality"

This was one of the first collections of Bach's Partitas I purchased on CD, having been promoted by British critics. Hewitt's playing in this music is linear, inoffensive, crystalline and lacking in personality. These are good performances but I don't believe this pianist is the final word in this music. The sound on these full priced CDs is fine.

I've tested a number of individual performances (Argerich J.S. Bach: Toccata, Partita, English Suite 2/ Martha Argerich, Pires Maria João Pires ~ Bach - Partita No. 1 · English Suite No. 3 · French Suite No. 2, Wolf Harden Bach, J.S.: Partitas Nos. 3-5, Bwv 827-829, Anderszewski Bach: Partitas Nos. 1, 3, 6, others) and complete sets (Glenn Gould Bach: Partitas BWV 825-830; Preludes and Fugues, Richard Goode, Andras Schiff, Roselyn Turek and Christopher Sager on piano and Igor Kipnis & Trevor Pinnock Bach: Six Partitas, BWV 825-830 (Edition Bachakademie Vol 115) /Pinnock (harpsichord), others on harpsichord, Richard Troeger on clavichord) and have found some of the same shortcomings in all the sets or CDs recorded individually. A newer set by Craig Sheppard has gotten universally good reviews by U.S. critics; I found it a little too in my face and unsubtle.

In particular, Gould can be impatient and is poorly recorded part of the time. Sager is the epitome of blandness and Goode is not far behind. Turek is a unique voice in Bach and anything she does should be given utmost consideration. Her recordings of the Partitas contain all her typical characteristics -- deliberate approach, heightened elocution and near new discovery of the counterpoint. However, her approach is not always dynamic and will not suit all tastes.

On harpsichord, Pinnock's recordings are fascinating but don't wear well over time because they all sound so much alike. Only Kipnis, it seems to me, understands the difference between each Partita and how to project those differences in Bach's individual voice and humanity. Of the sets I've tested, his comes closest to portraying the unique qualities of the each of the six Partitas. Troeger's clavichord recording is a disaster -- slavishly metrical, unimaginative and ugly sounding.

I continue to cling to individual favorites including Elena Kuschnerova's fabulous performance of the titantic Partita No. 6 Elena Kuschnerova, Gould's remarkable performance of Partita No. 4 and the unbelieveable performance of the Partita No. 1 by Dubravka Tomsic Bach: Italian Concerto BWV 971; Partita No. 1 BWV 825; Toccata in D BWV 912, included in a dirt cheap CD that I called "Best Bach CD on the Planet" in my Amazon review. It is a crime more people don't know about this remarkable CD.

I hope a piano set arrives someday that mimics some of the individual creativity from Kipnis with the drama of Kuschnerova and uncanny musical understanding of Tomsic. Until that time, I wouldn't recommend you spend the better part of $30 for this collection, although this one better than overrated Richard Goode.