These CDs contain all Bach's extant concertos that feature a solo keyboard. Most were 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 Bach's 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!
Hewitt's 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 CDs will surely be the jewels in the crown of Angela Hewitt's magnificent Bach series.
»The result of their historically informed modern-instrument take on the music is stunning, with crisp rhythms and singing melodic lines« (Classic FM Magazine)
»Her [Hewitt's] 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« (Metro)
»Hewitt's performances are brilliantly alive. Her subtle lyricism adds a rich, occasionally dark dimension, possibly not as Bach himself would have envisaged, but always with a deep sense of musical integrity« (The Scotsman)
»Here the Fazioli is heard at its exquisite best, its spongey bass chords pumping with clarity, its treble caressing a heart-tuggingly beautiful legato out of the slow movement, while the dainty strings sketch an almost tongue-in-cheek Pizzicato in the background. Hewitt's sense of phrase is masterful … the statements have regal import under the authoritative hands of this queen of keyboard playing« (The Times)
FonoForum 10/05: »Das ACO erweist sich auf der luftigen, sehr weit gespannten akustischen Bühne als hochprofessionelles, wunderbar mitatmendes und doch zurückhaltendes Solistenkollektiv. Und die Hewitt ist einfach großartig, stilsicher, geschmackvoll.«
Konzert Für Cembalo, Streicher Und Basso Continuo Nr. 4 A-Dur Bwv 1055
3. Allegro ma non tanto
Konzert Für Cembalo, Streicher Und Basso Continuo Nr. 3 D-Dur Bwv 1054
1. (ohne Satzbezeichnung)
2. Adagio e piano sempre
Konzert Für Cembalo, Streicher Und Basso Continuo Nr. 2 E-Dur Bwv 1053
1. (ohne Satzbezeichnung)
Konzert Für Cembalo, Streicher Und Basso Continuo Nr. 5 F-Moll Bwv 1056
Konzert Für Cembalo, Streicher Und Basso Continuo Nr. 6 F-Dur Bwv 1057 (Mit 2 Blockflöten)