J.S Bach: Keyboard Concertos

Her 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... — Gramophone Magazine More…

Release Date: 27th Sep 2010
Catalogue No: CDA30003
Label: Hyperion
Series: 30th Anniversary, Angela Hewitt Bach

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Bach, J S: Keyboard Concerto No. 1 in D minor, BWV1052

I. Allegro

II. Adagio

III. Allegro

Bach, J S: Keyboard Concerto No. 7 in G minor, BWV1058

I. Allegro

II. Andante

III. Allegro Assai

Bach, J S: Brandenburg Concerto No. 5 in D major, BWV1050

I. Allegro

II. Affettuoso

III. Allegro

Bach, J S: Concerto for Flute, Violin & Harpsichord in A minor, BWV1044

I. Allegro

II. Adagio, Ma Non Tanto, E Dolce

III. Alla Breve

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Bachs extant concertos that feature a solo keyboard were most written in the 1730s and are thought to be arrangements of earlier concertos, many of which are now lost (though two will be recognized as Bachs E major and A minor violin concertos and the sixth is an arrangement of the fourth Brandenburg). The fifth Brandenburg Concerto, with harpsichord, flute and violin soloists, dates from 1721 and is generally regarded as the first concerto for a solo keyboard instrument ever written. Bach made the keyboard part particularly brilliant and included a huge cadenza; he certainly knew how to establish a genre with a bang! Hewitts Bach is by now self-recommending but only after playing Bach across the world with numerous ensembles did Angela decide that the Australian Chamber Orchestra were the perfect collaborators. After a month of concerts across Australia these recordings were set down in Sydney in February of this year and the frisson of artists operating at the peak of their form is clear for all to hear. One is immediately struck by the quality of chamber-music playing as phrases are passed from soloist to orchestra and, in the case of Brandenburg Concerto No 5 and the Triple Concerto, between all three soloists. Rhythms are buoyant, tempos lively, the spirit of dance is never far away in the fast movements and a perfectly vocal quality pervades the sung lines of the slow movements. These recordings will surely be the jewels in the crown of Angela Hewitts magnificent Bach series.

Reviews

Her 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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