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SCHUMANN, Angela Hewitt

Humoreske and Sonata Op. 11

  • Piano Sonata No 1 in F sharp minor, Op 11
  • 1 Movement 1: Introduzione. Un poco adagio – Allegro vivace [13:51]
  • 2 Movement 2: Aria [4:31]
  • 3 Movement 3: Scherzo e Intermezzo. Allegrissimo – Lento [5:27]
  • 4 Movement 4: Allegro un poco maestoso [12:59]
  • Humoreske in B flat major, Op 20
  • 5 Part 1: Einfach – Sehr rasch und leicht – Wie im Anfang [5:44]
  • 6 Part 2: Hastig – Nach und nach immer lebhafter und stärker – Adagio [5:24]
  • 7 Part 3: Einfach und zart – Intermezzo [4:33]
  • 8 Part 4: Innig – Sehr lebhaft – Mit einigem Pomp [6:32]
  • 9 Part 5: Zum Beschluß [6:41]
  • Angela Hewitt - piano
  • SCHUMANN
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CD:

Nr kat.: CDA67618
Label  : Hyperion
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Nr kat.: SACDA67618
Label  : Hyperion

CLASSIC FM MAGAZINE INSTRUMENTAL DISC OF THE MONTH 'The clarity of line is a Hewitt hallmark. It is present through the buzzing Allegro vivace, passing from right hand to left and back with seamless fluency, and it soards with the most delicate lightness through the Aria … Hewitt's Scherzo explodes with rhythm … the crushed notes are flashing sparks that might ingnite. The Finale almsot tumbles over itself with key-changes, expression and dynamics, but Hewitt contains all in a lover's embrace … It is as if genius has stepped out of its trance. This is joyful and exuberant play … A compelling Schumann player' (Classic FM Magazine *****) 'Her technical control remains as poised as ever, but Hewitt pushes much harder at the margins of the expressive world that directs it … In the often problematic F sharp minor Sonata, Hewitt is unreservedly superb, making the music cohere formally without ever undervaluing its flights of lyrical fantasy. For her the slow movement is the emotional heart of the whole sonata, but she is equally impressive in the rangy finale too, boldly characterising its component parts yet always conveying the sense of an organic whole' (The Guardian) 'Angela Hewitt's seemingly effortless but always adventurous interpretations … Her poise and amplitude lend it an unearthly beauty … She holds our attention as no other piesnist has, in my experience, quite managed in the giant rondo of a finale … Handsome in fortissimo and mesmerising in sotto voce, the piano range is well served by Hyperion's Italian-based recording' (BBC Music Magazine *****) 'As ever with this pianist, we get playing that is thoughtful, thought-provoking, finely finished and intricantly nuanced. She imbues the opening movement of the sonata with a sure sense of structure and pace, and finds more energy than many of her rivals in the Scherzo' (Gramophone) 'Hewitt's recordings are self-sufficient without the need for comparisons, but her Schumann sonata can hold its own against Maurizio Pollini's impressive 1973 version … The best possible way to make its acquaintance' (International Record Review) 'Her command of the keyboard is, as always, breathtaking … When Hewitt tackles composers that call forth her special talents, she has few equals' (Fanfare, USA) 'This is very superior playing indeed: an object lesson in pianistic refinement, tonal expressive and psychological imagination, and musicianship of the highest order. Hewitt's tonal palette is vast, exceptionally controlled and never indulged for its own sake … The tenderness and luminosity of tone in the slow movement of the sonata are quite haunting in thier immediacy - indeed that immediacy is amongst the hallmarks of the whole recording, be it haunting, jubilant, playful, morbid, dramatic or any of the other emotions and spiritual atmospheres that Schumann traverses almost as a matter of course' (Piano Magazine) '… This recording of Schumann's first sonata is beyond exceptional. Her especial quality of moderate restraint gives Schumann a quality I have not heard from him before. I expect I'm being somewhat influenced by the marvelous engineering-her piano is all here. But I've yet to hear this much poetry and this much power not pull each other apart. The trick presumably is to rein in the power without appearing to do so, and she manages this compellingly... That she loves the work is expressed clearly and enthusiastically in her album notes; that she understands and is fully capable of demonstrating how emotionally inclusive it is comes through in her playing' (PositiveFeedback.com, USA) 'Hewitt’s highly personal performances demonstrate a sure grasp of character. Her deep understanding of the music’s beauties, quirks, and pitfalls makes for a most compelling listening experience' (American Record Guide) 'Dos jóvenespianistas aparecen en el horizonte del siglo XXI. Sin duda la antigua escuela de los Brendel, Lupu, etc. tiene difícil sustitución, pero un nuevo pianismo se presenta con estos nuevos artistas; un toque pulido, claro, buena técnica y no demasiado fervor, tratando a los genios románticos con cierta distancia, aliados con su calidad sin que su expresión empañe el discurso. Así parece expresarlo Angela Hewitt que propone dos muestras significativas y atractivas: Humoreske de Schumannn y, por otro lado, el monumento de El clave bien temperado de Bach, con cuidados legatos y una sonoridad homogénea' (La Vanguardia, Spain) ------------------------------------------------ Angela Hewitt’s recent Schumann performances in the concert hall were praised for their ‘urgency, jubilation and introspection’ and ‘power and finesse’. Now for the first time she has recorded two of his greatest piano works for Hyperion. Her clean, thoughtful, incisively musical playing which nevertheless allows a flow of passion to be released is perfectly suited to this music. The Sonata in F sharp minor Op 11 was described by the composer to his beloved Clara Wieck as ‘a cry from my heart to yours’. From the arresting opening to the bouncing Allegro vivace of the first movement and through to the majestic, orchestral-sounding finale, Clara’s imprints are everywhere in the work and Angela Hewitt traces this influence in her scholarly yet deeply personal booklet notes. Humoreske in B flat major was also written for Clara, and is a study of changing and ambiguous moods, melancholy tempered with tenderness, interspersed with dazzling bravura moments including one of the most difficult passages in all his piano works — a breathtaking emotional tour de force.