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Angela Hewitt

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Bach, J S: Goldberg Variations, BWV988

Bach, J S: Goldberg Variations, BWV988

2015 recording


Sixteen years have passed since Angela Hewitt’s first, justly celebrated, version of the ‘Goldbergs’. She here commits to record her ever-evolving response to a work which contains the ‘shadowed lesson of the whole world’, and which continues to play a central role in her life as an artist.

“More than any contemporary player, she manages to suggest the harpsichord’s plucking mechanism with her brilliant articulation — the trills of Variation 16!...her fluency makes the Goldbergs sound easy.” Sunday Times, 8th October 2016

“A perfect recording for her fans” Pianist Magazine, October 2016 ***

“The fingers are as formidably on the ball as ever – capable of the most tender translucency, of staccato leaps that ‘ping’, and able to differentiate and characterise several voices simultaneously with jaw-dropping felicity” BBC Music Magazine, Christmas 2016 *****

“A salutary reminder that recordings which one thought couldn’t be bettered, actually can - remarkable” International Piano, February 2017 *****

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Hyperion - CDA68146

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Beethoven - Piano Sonatas Volume 6

Beethoven - Piano Sonatas Volume 6


Beethoven:

Piano Sonata No. 9 in E major, Op. 14 No. 1

Piano Sonata No. 19 in G minor, Op. 49 No. 1

Piano Sonata No. 20 in G major, Op. 49 No. 2

Piano Sonata No. 16 in G major, Op. 31 No. 1

Piano Sonata No. 26 in E flat major, Op. 81a 'Les Adieux'


Another instalment of Angela Hewitt’s much-lauded Beethoven presents five piano sonatas, culminating with the masterly ‘Les adieux’. As usual, Angela’s booklet notes muse compellingly on the music, performance practice and all things Beethovenian.

“Her playing has all the qualities one associates with her renowned Bach: crisp, clean articulation, sparing use of the pedals as if she is reimagining the music on the instruments Beethoven played...All pure delight.” Sunday Times, 7th August 2016

“One can hardly fault Hewitt’s suave execution or her meticulous voice-leading and dynamic shadings in Les adieux’s first movement…after pouncing into the Rondo’s whirling introduction, she seemingly settles back when the movement’s main theme commences. Yet her biting accents, strong left-hand presence and shapely downward scales assiduously gather momentum and drive…I look forward to her cycle’s 10 remaining sonatas” Gramophone Magazine, August 2016

“Angela Hewitt’s latest Beethoven recording comes with her customary intelligence and scrupulous attention to detail…her gently trotting minuet (its theme later cropped up in Beethoven’s popular Septet) is a real pleasure, and her subtle ornamentations in the theme’s various returns are a nice touch” BBC Music Magazine, September 2016 ***

“there is much thoughtful and nuanced playing to savour in all five works here, not least the two little Op 49 sonatas.” The Guardian, 18th August 2016 ***

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Hyperion - Angela Hewitt Beethoven - CDA68131

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Domenico Scarlatti: Sonatas, Vol. 1

Domenico Scarlatti: Sonatas, Vol. 1


Scarlatti, D:

Keyboard Sonata K380 in E major

Keyboard Sonata K96 in D major

Keyboard Sonata K109 in A minor

Keyboard Sonata K427 in G major

Keyboard Sonata K69 in F minor

Keyboard Sonata K141 in D minor

Keyboard Sonata K140 in D major

Keyboard Sonata K27 in B minor

Keyboard Sonata K13 in G major

Keyboard Sonata K8 in G minor

Keyboard Sonata K430 in D major

Keyboard Sonata K113 in A major

Keyboard Sonata K29 in D major

Keyboard Sonata K87 in B minor

Keyboard Sonata K159 in C major 'La caccia'

Keyboard Sonata K9 in D minor


Baroque pianist par excellence Angela Hewitt turns to the rich seam of Domenico Scarlatti keyboard sonatas. There are 555 in total—here Angela performs sixteen of the finest.

“[Hewitt's] dancing sense of rhythm and playfulness in the bravura Kk29 in D, or the “As fast as possible” G major, Kk427, is irresistible, as is her cantabile emulation of the greatest 18th-century singers in the aria-like slow sonatas…as in her admired Bach recordings, Hewitt’s crisp articulation conveys an impression of Scarlatti’s original harpsichord” Sunday Times, 24th January 2016

“With so much experience playing music of the Baroque, you'd expect something highly personal from Hewitt. Even in a sonata as well known as the lilting Kk9, we hear it afresh, with no turn of phrase going unconsidered. In the bustling Kk159, replete with horn calls, she reveals as much interest in the inner parts as in the outer ones” Gramophone Magazine, February 2016

“Angela Hewitt responds intuitively and alluringly to the multi-faceted character of these sonatas” BBC Music Magazine, 01/03/2016

“This is a release all Hewitt fans will welcome and is good introduction to those few who have not yet discovered this versatile pianist” Pianist Magazine, June 2016 ****

“She’s attentive to the music’s other facets, from the ancient sorrow of K8 and the elegiac grandeur of K308 to the humour implicit in K427’s unexpected fortissimo chords – ‘like somebody jumping out at you from behind a door’” Early Music Today, September 2016

“The Canadian is on sparkling form, bringing to Scarlatti the same brilliance of articulation, singing line and wit that she lavishes on Bach.” The Times, December 2016

BBC Music Magazine

Instrumental Choice - March 2016

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Hyperion - CDA67613

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Beethoven - Piano Sonatas Volume 5

Beethoven - Piano Sonatas Volume 5


Beethoven:

Piano Sonata No. 2 in A major, Op. 2 No. 2

Piano Sonata No. 5 in C minor, Op. 10 No. 1

Piano Sonata No. 24 in F sharp major, Op. 78

Piano Sonata No. 31 in A flat major, Op. 110


Angela Hewitt has been much praised in her earlier recordings of Beethoven’s piano sonatas—displaying ‘exquisite taste’—and now turns her ‘uncluttered clarity of thought and inspired structural pacing’ to four more works spanning the composer’s career. As ever, Angela’s accompanying notes provide fascinating insights into both the music and her performances.

“Here is a stimulating well-contrasted programme. Each sonata benefits from Angela Hewitt's beautifully clean-cut pianistic commant, in which every score marking is placed within a precisely articulated interpretative overview.” BBC Music Magazine, September 2015

“Hewitt comes to the music with expertise honed in the Baroque repertoire, Bach especially. Her Beethoven rarely sounds susceptible to Dionysiac forces, whether passion or fury. For the Apollonian virtues of grace and clarity, though, she is an ideal guide.” Financial Times, 1st August 2015 ****

“this fifth volume, for the most part, offers interpretations characterised by intelligent virtuosity and cultivated artistry...everything comes together for Hewitt in a most inspired Op. 110. It abounds with long-lined breadth, careful dynamic scaling, assiduously worked-out tempo relationships and heartfelt poetry.” Gramophone Magazine, September 2015

“she is still probably best known for her Bach. So perhaps it’s no surprise that it’s when Beethoven slips into Bach-style fugues in the final movement of Op 110 that Hewitt sounds most masterful. Elsewhere she is incisive and thoughtful too, even if the two earliest works here, Op 2 no 2 and Op 10 no 1, demand a certain lightness of touch that they don’t quite get.” The Guardian, 20th August 2015 ****

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Hyperion - Angela Hewitt Beethoven - CDA68086

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Liszt: Piano Sonata

Liszt: Piano Sonata

& other works


Liszt:

Piano Sonata in B minor, S178

Sonetto 47 del Petrarca (Années de pèlerinage II, S. 161 No. 4)

Sonetto 104 del Petrarca (Années de pèlerinage II, S. 161 No. 5)

Sonetto 123 del Petrarca (Années de pèlerinage II, S. 161 No. 6)

Après une lecture du Dante, fantasia quasi sonata (Années de pèlerinage II, S. 161 No. 7)


Angela Hewitt’s notes for this important new album describe a teenager’s moment of revelation when she first came to appreciate the epic masterpiece that is the Liszt Piano Sonata. Here we have a heart-felt recording where this palpable sense of wonder is manifest alongside Hewitt’s enthralling technical facility at the keyboard.

The programme is completed by the second half of Liszt’s dazzling second Année de pèlerinage collection: the three Petrarch Sonnets and the noble Dante Sonata, the latter composed as a fund-raiser for the Bonn Beethoven monument in 1839.

“Hewitt has a refreshing attitude to Liszt...Virtuosity is only the start [of the Dante Sonata]. Here, in the B minor sonata and in the three youthful Petrarch Sonnets, Hewitt is magisterial. For many years Bach has been her calling card. Her Liszt is, if anything, yet more compelling.” The Observer, 1st February 2015 ****

“Hewitt’s Liszt interpretations are both exquisite and dramatic, at once finely thought-out and exalting. From the first bar, the Sonata is invested with a freshness...Wise long pauses are left between items, time in which to forget every music you ever knew.” Sunday Times, 8th February 2015

“Elegant and immaculate in both musicianship and platform wardrobe, the pianist Angela Hewitt doesn’t immediately rush to mind when considering the wild music of Liszt...Even if her approach sometimes rubs against the music’s grain, the poise and clarity of her textures and phrasings still brings major pleasures.” The Times, 6th February 2015 ****

“She recognises that the sonata is a work of emotional extremes, but of extremes that are close-knit and have a clear expressive focus...Hewitt’s interpretation scores over those that veer from one dramatic incident to another without paying due attention to the shaping of the quieter moments of bliss and repose.” The Telegraph, 1st March 2015 ****

“What enviable poise and expressive beauty to launch the central Andante...Hewitt holds her own to such an extent that she makes you forget all about odious comparisons and listen instead to one of the great milestones in all music...This is possibly the very finest of Angela Hewitt's many recordings.” Gramophone Magazine, March 2015

“Hewitt allows [the Sonata's] huge single-movement span to unfold with a sense of space and a purposeful clarity - qualities akin to the manner of Beethoven's late sonatas...Hewitt, a hugely experienced Bach-performer, delivers [the Allegro] at an unexaggerated pace, and with a precisely articulated vividness that works superbly.” BBC Music Magazine, April 2015 ***/****

GGramophone Magazine

Editor's Choice - March 2015

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Hyperion - CDA68067

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JS Bach: The Art of Fugue

JS Bach: The Art of Fugue


Bach, J S:

The Art of Fugue, BWV1080

Wenn wir in höchsten Nöten sein, BWV668a


‘Angela Hewitt’s performance on the piano over two recitals brought this apogee of musical thought to vivid life through sound … Hewitt’s achievement is to bring its abstract purity to memorable tonal embodiment by providing an emotional context that audiences connect with’ (Sydney Morning Herald)

‘Hewitt’s eloquent exposition of each fugue’s “formula”, the result of a lifetime’s immersion in Bach’s music, could hardly be bettered’ (Financial Times)

Angela’s much-awaited recording of Bach’s ultimate masterpiece, The Art of Fugue, is destined to be the crowning achievement of her Bach cycle for Hyperion—a revelatory recording and performing project which has taken her all over the world and won her international acclaim and millions of dedicated fans. With decades of experience behind her, she breathes fresh air into the most complex keyboard-writing of Bach, bringing it to life with crystalline clarity and thoughtful sincerity.

“I won’t mince words. This Art of Fugue is marvellous. The variety and beauty of tone alone make compelling listening, bringing contrasts, clarity and warmth to Bach’s intellectual marvels...Yet her fingers never make the results dry triumphs of engineering.” The Times, 3rd October 2014 *****

“how does one sustain interest and concentration without compromising the music's structure and character? Contrapunctus I alone reveals not only Angela Hewitt's solution to these challenges but also the extent of her evolution as a Bach player...Hewitt's expressive and dynamic range is both expanded and strategically deployed.” Gramophone Magazine, October 2014

“Hewitt admits she was daunted by this music...She only took The Art of Fugue into her repertoire in 2012, but it crowns — magnificently — her acclaimed Hyperion recordings of the complete keyboard works, reaffirming her position as the outstanding Bach pianist of her generation.” Sunday Times, 26th October 2014

“The instrument is radiantly captured by Hyperion's engineers; indeed, for sheer beauty of sound, this version is unparalleled...Hewitt spins a lyrical cantabile throughout, every line eloquently voiced and articulated. Admirable, too, is her ability to make the music dance with balletic grace.” BBC Music Magazine, December 2014 *****

“Hewitt's account, characteristically, is clean and precise but always pianistic - she never seems, like some pianists, to be imitating a harpsichord, whereas her delicate touch means that the music is not burdened with undue heaviness.” International Record Review, December 2014

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Hyperion - CDA67980

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Mozart: Piano Concertos Nos. 22 & 24

Mozart: Piano Concertos Nos. 22 & 24


Mozart:

Piano Concerto No. 22 in E flat major, K482

Piano Concerto No. 24 in C minor, K491


Angela Hewitt (piano)

National Arts Centre Orchestra, Hannu Lintu

Hyperion is delighted to present Angela Hewitt’s third volume of Mozart piano concertos. Writing in The Observer, Stephen Pritchard wrote of the first volume that ‘Judging from this first example, it’s going to be a journey as revelatory as her exploration of all the major keyboard works of Bach’.

Here Angela Hewitt is joined by her compatriot National Arts Centre Orchestra of Canada and frequent collaborator Hannu Lintu for sparklingly stylish renditions of Mozart’s Piano Concertos Nos 22 and 24.

Both of these works were written between December 1785 and March 1786. For the first time in a piano concerto orchestration, in No 22 he uses clarinets—an instrument that became a regular member of orchestras only in the 1780s. No 24 is a dark and passionate work, made more striking by its classical restraint, and the final movement, a set of variations, is commonly called ‘sublime’.

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Hyperion Angela Hewitt Complete Mozart Piano Concertos - CDA68049

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Beethoven - Piano Sonatas Volume 4

Beethoven - Piano Sonatas Volume 4


Beethoven:

Piano Sonata No. 11 in B flat major, Op. 22

Piano Sonata No. 18 in E flat major, Op. 31 No. 3 'The Hunt'

Piano Sonata No. 28 in A major, Op. 101


Angela Hewitt presents a fourth volume in her acclaimed series of Beethoven’s piano sonatas, which has delighted her fans worldwide.

The little-known Sonata in B flat major, Op 22, the last of Beethoven’s ‘early’ sonatas, is recorded alongside Op 31 No 3 (sometimes known as ‘La chasse’, or ‘The Hunt’, because of its tumultuous Presto con fuoco finale). The album is concluded with Op 101, of which the journalist for the Allgemeine musikalische Zeitung in Leipzig wrote: ‘Truly, here in his 101st composition admiration and renewed respect take hold of us, when we wander along strange, never trodden paths with the great painter of the soul’, going on to enthuse about the most beautiful colours and pictures in Beethoven’s new Piano Sonata.

“The opening Allegretto ma non troppo of Sonata No. 28 in A, Op. 101 finds her in suitably reflective mood...It's in the Finale, however, where this performance takes off...Here, her long-term immersion in the music of Bach really pays dividends.” BBC Music Magazine, January 2014 ****

“Exquisite in taste is the slow movement of Op. 22, a beautifully paced Adagio, in the hands of Angela Hewitt. But Beethoven's extra instruction, con molta espressione, implying passion too, is kept at a distance.” Gramophone Magazine, January 2014

“Something tells me that Hewitt is in her comfort zone with [Op. 31 No. 1]. In her booklet notes she indicates a particular preference for this work, and she has had it in her repertoire for many years. Her affinity is evident in the warmth and lyricism with which she imbues the score. She brings such tenderness to the opening bars, yet the emotion is rightly contained.” MusicWeb International, 30th January 2014

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Hyperion - Angela Hewitt Beethoven - CDA67974

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Fauré: Piano Music

Fauré: Piano Music


Fauré:

Thème & Variations, Op. 73

Valse-caprice, Op. 30

Valse-caprice, Op. 38

Nocturne No. 5 in B flat major, Op. 37

Nocturne No. 6 in D flat major, Op. 63

Nocturne No. 13 in B minor, Op. 119

Ballade in F sharp major for solo piano or piano & orchestra, Op. 19


Angela Hewitt’s recordings of French piano music have received the highest critical acclaim, her ‘tenderness, Gallic wit, verve, and—the most important ingredient of all—charm’ proving perfect for works by Chabrier, Debussy, Ravel and indeed Rameau and Couperin. Now she turns to a composer who is more serious and introspective, with a refinement that has led to him being relatively overlooked by performers. But in Angela Hewitt’s hands this music is an utter joy.

This album includes the major work Thème et variations, Op 73—one of Faure’s greatest works for piano—and a selection of Valses-caprices and Nocturnes. It ends with a more radiant piece from Fauré’s youth, the earliest piece included on this recording—the Ballade pour piano seul, Op 19, dedicated to Saint-Saëns.

“turning convention topsy-turvy, she reminds us in her vehement, brightly lit performances that Faure objected to pianists who play his music 'with the shutters down'” Gramophone Magazine, September 2013

“She brings not just an intimate grasp of the music’s harmonic and technical demands, but an essential refinement – most evident in the Theme and Variations, in which she finds élan, lightness and grandeur without overemphasising the differences between the 11 variations.” Financial Times, 7th September 2013 ****

“It's a very thoughtfully planned sequence, beautifully executed; the sharply contrasting characters of each of the variations...are perfectly focused, while the joyous exuberance of the early Ballade sweeps all before it...All these pieces are presented with exemplary clarity and wonderfully crystalline tone.” The Guardian, 5th September 2013 ****

“an exquisite Faure recital...The purity and strong, supple backbone of her playing lets Faure's inventive genius, his extraordinary sensitivity to colour, harmonic shading, texture and eloquence, shine on its own terms...Hewitt can draw us into Faure's unique bubble and simply envelop us in his cool, self-sufficient gorgeousness” BBC Music Magazine, October 2013 *****

“Particularly masterly are the variations, the heartbreaking 7th and final 12th very lovely. Hewitt observes that Fauré, who did not die until 1924, was born in Schumann and Chopin’s lifetimes: the pianism and songfulness show their legacy.” The Independent, 15th September 2013 ****

“She plays this repertoire with real vitality and extroversion...Her sense of phrasing and sense of continuity in the three Nocturnes is Collard-like in intimacy and sensitive proportion.” MusicWeb International, 30th September 2013

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Hyperion - CDA67875

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Mozart: Piano Concertos Nos. 17 & 27

Mozart: Piano Concertos Nos. 17 & 27


Mozart:

Piano Concerto No. 17 in G major, K453

Piano Concerto No. 27 in B flat major, K595


Angela Hewitt (piano)

Orchestra da Camera di Mantova, Hannu Lintu

Angela Hewitt turns to two of Mozart’s greatest and most popular concertos for her latest album. Together with her frequent collaborators, the Orchestra da Camera di Mantova and brilliant Finnish conductor Hannu Lintu, she presents these works in performances which are both elegantly stylish and profoundly felt. This release is completed by a personal reflection on the music by Hewitt herself in the accompanying booklet.

“[the Presto of K453] is brilliantly done, anmd this is a brilliant performance all round.” International Record Review, May 2013

“The sound is wonderfully clean and focused, with an ideal balance between Hewitt’s customary Fazioli piano and the orchestra...a Mozart release to cherish.” The Telegraph, 10th May 2013

“[Hewitt] weights the finale [of K491] to reflect rumination or melancholia, and propounds it supremely well too...Yet the Andante evokes the finest in her, its trajectory exposed through pathos and proud gesture.” Gramophone Magazine, June 2013

“Hewitt displays her pianistic talents to full advantage. Particularly enjoyable are the concluding variations, with their opera buffa-style coda, in which she seems completely at one with the alert playing of the Mantua Chamber Orchestra under Hannu Lintu.” BBC Music Magazine, August 2013 ****

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Hyperion Angela Hewitt Complete Mozart Piano Concertos - CDA67919

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