Angela Hewitt – The 100th Anniversary season of the Accademia Chigiana in Siena.Bach shining brightly with intelligence,ravishing beauty ……and wit.
Angela’s Bach is a human Bach not a monolith to be worshipped from afar however a musical genius who likewise had human sensations that he revealed within the official limits of music of his time.He likewise had seventeen kids so he need to certainly have had a sense of humour!Angela’s Bach is based upon the tune and the dance however above all on the human voice.It is this that kept the audience enthralled with 8 Starts and Fugues from Book 2 of the Well Tempered Clavier played at the same time sometimes with a balanced drive and others a beseeching melodic line of fantastic beauty.Has the D small start ever seen such a seemless stream of notes with unforeseen colours resembling gems unexpectedly shining brightly.The opening D significant had something of the nobility that she brought later on to the opening of the Overture BWV 831. There was a pastoral appeal that she gave the Start in E flat contrasting with the basic delight of the Fugue.There was fragile expression to the end of the D sharp Fugue.The hectic weaving of the E small Start and Fugue you might start to see what Delius implied when he dismissed Bach as knotty twine!He clearly had actually not heard Angela’s fantastic sense of colour and shape and a method of highlighting without exaggeration.She would simply shine a mini spotlight on the entry of the fugue however with a kaleidoscope of various colours.Her Bach has fantastic architectural shape however within that Gothic cathedral there were a lot of surprise shapes and various characters that made what appeared like a dry workout on paper ends up being a dynamic thrilling and moving experience.Refined appeal of the last F small Start was contrasted with the rumbustuous protest of the Fugue.It was this Fugue that going backstage in the period of among her numerous performances in Florence we wound up singing Ebenezer Prout’s popular words to the Bach Fugues.I pretended to bear in mind however she was dancing around the space reciting them revealing what enjoyable Bach can be too!A life time buddy undoubtedly! Fortunate Angela!And fortunate us who can share her ‘joie de vivre’ in her ever generous tournées world broad.
Johann Sebastian Bach da “Il Clavicembalo ben Temperato”, Libro II
Preludio e Fuga n. 5 in re magg. BWV 874
Preludio e Fuga n. 6 in re minutes. BWV 875
Preludio e Fuga n. 7 in mi bem. magg. BWV 876
Preludio e Fuga n. 8 in re diesis minutes. BWV 877
Preludio e Fuga n. 9 in mi magg. BWV 878
Preludio e Fuga n. 10 in mi minutes. BWV 879
Preludio e Fuga n. 11 in fa magg. BWV 880
Preludio e Fuga n. 12 in fa minutes. BWV 881
Johann Sebastian Bach Ouverture in stile francese in si minutes. BWV 831
1. Ouverture
2. Courante
3. Gavotte I
4. Gavotte II (re maggiore)
5. Passepied I
6.
Passepied II
7.
Sarabande
8. Bourrée I
9. Bourrée II
10. Gigue
11. Echo
The Overture in the French design, BWV 831, initial title Ouvertüre nach Französischer Art, likewise called the French Overture and released as the 2nd half of the Clavier- Ubung 11 in 1735 (coupled with the Italian Concerto) and is a suite in B small for a two-manual harpsichord.A previously variation of this work exists, in the secret of C small (BWV 831a); the work was shifted into B small to finish the cycle of tonalities in Components One and 2 of the Clavier-Übung [ The secrets of the 6 Partitas (B ♭ significant, C small, A small, D significant, G significant, E small) of Clavier-Übung I form a series of periods increasing and after that down by increasing quantities: a 2nd up (B ♭ to C), a 3rd down (C to A), a 4th up (A to D), a 5th down (D to G), and lastly a 6th up (G to E). The crucial series continues into Clavier-Übung II (1735) with 2 bigger works: the Italian Concerto, a seventh down (E to F), and the French Overture, an increased 4th up (F to B ♮). Therefore this series of traditional tonalities for 18th-century keyboard structures is total, extending from the very first letter of his name (Bach’s “house” secret, B ♭, in German is B) to the last letter of his name (B ♮ in German is H). The term overture describes the truth that this suite begins with an overture motion, and was a typical generic name for French suites (his orchestral suites were likewise called). This “overture” motion changes the allemande discovered in Bach’s other keyboard suites. Likewise, there are optional dance motions both prior to and after the Sarabande.In Bach’s work optional motions typically happen just after the sarabande. All 3 of the optional dance motions exist in sets, with the very first one duplicated after the 2nd, however without the internal repeats. Likewise uncommon for Bach is the addition of an additional motion after the GigueThis is an “echo”, a piece implied to make use of the terraced loud and soft characteristics of the two-manual harpsichord. Other motions likewise have vibrant indicators ( piano and strength) which are seldom discovered in keyboard suites of the Baroque duration, and show here making use of the 2 keyboards of the harpsichord. With eleven motions, the French Overture is the longest keyboard suite ever made up by Bach.
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