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Thread: Angela Hewitt Your Thoughts?

  1. #46
    Junior Member Corvus's Avatar
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    Well now, it all depends on the performer and the particular harpsichord used. Because of this discussion I was motivated to listen to Trevor Pinnock's latest recording of Bach's Partitas on the harpsichord and Angela Hewitt's recording "The Art of Fugue". Both are very good and I would not part with either. I enjoy listening to Bach's keyboard works on both instruments. Heck, I even enjoy transcriptions of Bach's music for other instruments such as the lute!
    Angela Hewitt is a very good interpreter of Bach's music. I would snatch up that box set!

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  3. #47
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    It's always nice when you can Google something and add on "talk classical" to the end of your search then already see a thread started about the topic you just googled. Thanks TC!

    Seems like there is mixed feelings about Angela Hewitt......
    Although I was looking at her Scarlatti performances not her Bach.

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  5. #48
    Senior Member gardibolt's Avatar
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    I'm quite fond of her Beethoven sonatas; a very light touch that gives a different insight into the work, which I always appreciate.
    Hours of unrecorded, unpublished and unknown Beethoven works at The Unheard Beethoven

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    Junior Member cbjes's Avatar
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    Quote Originally Posted by gardibolt View Post
    I'm quite fond of her Beethoven sonatas; a very light touch that gives a different insight into the work, which I always appreciate.
    I've mainly listen and enjoyed her bach recordings so far. Especially this one is a little different/interesting hewitt.png but would really like to explore her beethoven. Which recordings do you recommend to start with?

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  8. #50
    Senior Member Oldhoosierdude's Avatar
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    I quite enjoy Hewitt. Especially when the recording is with the piano she uses most. Sorry can't think of exactly what it is but it sounds great.

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    Quote Originally Posted by Oldhoosierdude View Post
    I quite enjoy Hewitt. Especially when the recording is with the piano she uses most. Sorry can't think of exactly what it is but it sounds great.
    She likes the Fazioli, and she has been a "Fazioli Artist," if you will, for some time. A gutsy move, since Steinway, as you know, seems to be quite powerful.


    She thinks the Fazioli has a wider colour-palette. I'm not convinced she's right. I played a full-sized one at a shop. I found it tinny, to be frank. That could be regulation, tuning, humidity, the room, of course. But her second run at the WTK, which uses that instrument, also sounds a bit tinny, at least on my equipment. For sure, it has a lighter touch than either a New York or a Hamburg Steinway. But I LOVE the sound of a well-recorded Hamburg Steinway, and I sure wish I had the cash to purchase one.
    Last edited by johnlewisgrant; Oct-10-2018 at 20:33.

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  11. #52
    Senior Member jegreenwood's Avatar
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    Quote Originally Posted by johnlewisgrant View Post
    She likes the Fazioli, and she has been a "Fazioli Artist," if you will, for some time. A gutsy move, since Steinway, as you know, seems to be quite powerful.


    She thinks the Fazioli has a wider colour-palette. I'm not convinced she's right. I played a full-sized one at a shop. I found it tinny, to be frank. That could be regulation, tuning, humidity, the room, of course. But her second run at the WTK, which uses that instrument, also sounds a bit tinny, at least on my equipment. For sure, it has a lighter touch than either a New York or a Hamburg Steinway. But I LOVE the sound of a well-recorded Hamburg Steinway, and I sure wish I had the cash to purchase one.
    I've heard her in concert with the Fazioli. It definitely has a brighter sound than the Steinway I've often heard in the same concert hall, but I would not go so far as to call it tinny.

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    Quote Originally Posted by jegreenwood View Post
    I've heard her in concert with the Fazioli. It definitely has a brighter sound than the Steinway I've often heard in the same concert hall, but I would not go so far as to call it tinny.
    You are quite right. I hesitated before using the word "tinny," and tried to come up with a more precise description. Couldn't think of one; so I hedged I guess by contextualizing (the room, the tuning, etc., etc.,)!!!

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    I just listened to her Humoreske (Schumann) - if her Bach isn’t a lot better than this Schumann she’s seriously overhyped.

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    Quote Originally Posted by cbjes View Post
    I've mainly listen and enjoyed her bach recordings so far. Especially this one is a little different/interesting hewitt.png but would really like to explore her beethoven. Which recordings do you recommend to start with?
    I agree with you completely. This is a great recording. I admit to not "loving" much of her solo Bach (for better or worse, I guess); but this is a magical rendering of the concerti, by any measure.

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    Quote Originally Posted by jegreenwood View Post
    I've heard her in concert with the Fazioli. It definitely has a brighter sound than the Steinway I've often heard in the same concert hall, but I would not go so far as to call it tinny.
    I've only heard her in recordings so it is really impossible to say anything definitive about the sound of the instrument, since the engineering of the recording can have a significant influence.

    But based on recent listening to her first (Steinway) and second (Fazoli) Goldberg Varations, the Fazoli sounded a bit tubby to me (not brighter). I narrowly prefer the Steinway sound (in the recording) and generally prefer her first recording.
    Last edited by Baron Scarpia; Oct-11-2018 at 22:50.

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    Quote Originally Posted by Mandryka View Post
    I just listened to her Humoreske (Schumann) - if her Bach isn’t a lot better than this Schumann she’s seriously overhyped.
    I am not aware of anyone "hyping" her. I enjoy her Bach recordings and based the fact that Hyperion continues to produce her recordings of Bach and others, a lot of other people must be enjoying them.

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    Quote Originally Posted by Baron Scarpia View Post
    I am not aware of anyone "hyping" her.
    Duh, I’ll give you a clue, why do you think they’re called Hyperion?

    Quote Originally Posted by Baron Scarpia View Post
    I am not aware of anyone "hyping" her. I enjoy her Bach recordings and based the fact that Hyperion continues to produce her recordings of Bach and others, a lot of other people must be enjoying them.
    Double duh. People buy the recordings because they win prizes, get played on radio, get enthusiastic reviews. I.e. hype.
    Last edited by Mandryka; Oct-12-2018 at 05:45.

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    Senior Member Itullian's Avatar
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    I have all of her Bach recordings and enjoy them very much.
    Haven't heard her other recordings as of yet.
    When all else fails, listen to Thick as a Brick.

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    Senior Member jegreenwood's Avatar
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    Quote Originally Posted by Baron Scarpia View Post
    I've only heard her in recordings so it is really impossible to say anything definitive about the sound of the instrument, since the engineering of the recording can have a significant influence.

    But based on recent listening to her first (Steinway) and second (Fazoli) Goldberg Varations, the Fazoli sounded a bit tubby to me (not brighter). I narrowly prefer the Steinway sound (in the recording) and generally prefer her first recording.
    I've heard her in concert with the Fazioli three times, always Bach. This article excerpt from Pianobuyer pretty much captures my experience.

    Indeed, the Faziolis’ consistency of clarity, sustain, and brilliance was addicting. But for me, there was a downside: I felt that the bass had an almost bright tinge, similar in sound to the middle or treble registers, such that it lacked a degree of depth, orchestral power, and even warmth found in many New York Steinways. Perhaps this was a tradeoff necessary to achieving its incredible upper registers, but in any case, it was particularly true of the F212. As I ran through passages of Liszt’s Sonata in B Minor, the octaves of his Funérailles, and Stravinsky’s Pétrouchka, I sometimes wished for a warmer or more resonant bass from the F212. Comparing the F212 and F228, there could be no denying that the F228 had more range and resonance in its bass; after all, in the world of pianos, bigger often means better bass. But while the sound of the Faziolis was always beautiful, it was not always warm. Sometimes the tone felt too perfect — but then, I was born and raised on a different sound. Metaphorically speaking, I prefer the somewhat more complex and romantic interpretations of Cliburn to the insightful clarity of Pollini; I always have and I always will.

    I also heard her in dialog with Ian McEwan. In his novel Saturday, the main character chooses to listen to Hewitt's Goldberg Variations over Gould's while performing surgery. Later she gave him advice regarding the piano-playing of the Justice in the novel The Children's Act. Not sure if she helped with the recent film adaptation.
    Last edited by jegreenwood; Oct-12-2018 at 12:33.

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