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Debussy : Suite bergamasque / Children's Corner / Pour le piano / Masques / L'isle joyeuse / Deux Arabesques

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Page Artiste Angela Hewitt

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Détails sur le produit

1. No.1. doctor gradus ad parnassum
2. No. 2. jimbo's lullaby
3. No. 3. serenade for the doll
4. No. 4. the snow is dancing
5. No. 5. the little shepherd
6. No. 6. golliwog's cake-walk
7. I. prélude
8. II. menuet
9. III. clair de lune
10. IV. passepied
11. Danse
12. No. 1. andantino
13. No. 2. allegretto scherzando
14. I. prélude
15. II. sarabande
16. III. toccata
17. Masques
18. L'isle joyeuse
19. La plus que lente

Descriptions du produit

Description du produit

Angela Hewitts previous forays into the French repertoire have been praised for their tenderness, Gallic wit, verve, andthe most important ingredient of allcharm. These qualities are very much to the fore in this new disc of Debussy featuring some of the composers most sunlit, delightful and popular works. Childrens Corner was written for Debussys beloved daughter (though not, as Hewitt explains, for her to play immediately). Hewitt embraces the musics wit, artful references and gentle beauty. The atmospheric Suite bergamasque includes the famous Clair de lune. Also included are the tragic Masques and gorgeously exuberant Lisle joyeuse. Hewitt and Debussy are a perfect match.


Angela Hewitt's spectrum of touch, her fluency and sense of colour are deployed with enchantment in this Debussy: Suite bergamasque CD. ***** --Telegraph,05/10/12

Angela Hewitt's collection includes most of Debussy's significant works for solo piano other than the books of Images, Studies and, of course, the Preludes. There's not a trace of the "impressionistic" about her treatment of any of them: this is Debussy portrayed in clean, bright colours and sharply focused detail, with every rhythm precisely etched. At times it can even seem a bit too brisk and business-like. Children's Corner is short on child-like charm and sentiment it would need a pretty somnolent elephant to fall asleep to this account of Jimbo's Lullaby while the luscious slow waltz of La Plus que Lente is turned into a rather chaste negotiation. But the clarity that Hewitt brings to the three movements of Pour le Piano, her unfussy presentation of Suite Bergamasque and the pinpoint accuracy with which she channels the energy of both L'Isle Joyeuse and the much less well-known Masques are all admirable; it's undeniably high-class playing. **** --Guardian,04/10/12

This is a Debussy recital that will delight aficionados of the piano as well as those coming to the music for the first time. IRR OUTSTANDING --IRR,Oct'12

This is one of the better offerings for Debussy's 150th anniversary.Angela Hewitt is a a remarkabley fine Debussy pianist. This generously filled disc finds Hewitt utterly persuasive in the three suites at heart. Performance ***** Recording **** --BBC Music Magazine, Dec'12

This is a Debussy recital that will delight aficionados of the piano as well as those coming to the music for the first time. IRR OUTSTANDING --IRR,Oct'12

She is best in movements such as Doctor Gradus from Children's corner and the Prelude from Pour le piano, both , perhaps significantly, fingery pieces. --Gramophone, Dec'12

This is a Debussy recital that will delight aficionados of the piano as well as those coming to the music for the first time. IRR OUTSTANDING --IRR,Oct'12

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8 internautes sur 8 ont trouvé ce commentaire utile 
Hewitt's polar opposite of Bach 2 septembre 2013
Par Alan Lekan - Publié sur Amazon.com
Format: CD
Debussy's music, with its free-floating harmonies, sensual surface textures, and non-repetitve form is something of a polar opposite of Bach's very German style of heavy fugal rhythms, rigid classical structures and predicatable flow - "the difference between a light souffle and bratwurst with potatoes" as music writer Stuart Isacoff muses. It only is a testement to a pianist as talented as Angela Hewiit to pull of both composers so convincingly as she does in her monumental Bach recordings and this newer recording of Debussy. Its why she should be considered like Murray Perahia as one of our great "All Arounders."

In approaching Debussy, Hewitt avoids the typical forray into the meat of the piano repertoire like the Preludes, Images, Etudes, Estampes - and instead treats us to a display of the composer's more innocent and less overtly popular but superb pieces. Well, there are a couple eternally popular works like Clair du lune, Duex Arabesques and Children's Corner, the latter written for Debussy's young daughter at the time (tragically she died a year later at only the age of 14 following the composer's passing in 1918). Hewitt does these little morsels justice by avoiding excesses and keeping them simple and clean to let their harmonies speak. As usual, she is vigilent to the composer's markings, although perhaps for some certain tempos may languish a shade (Clair de lune, the sarabande in Pour le Piano). The tocata in the same piece showcases Hewitt's razor-sharp articulation of structure that she is well-known for in her Bach especially.

There is no shortage of superb interpreters of Debussy - Gieseking, Rubinstein, Jacobs, Aimard, Planes, Bouvozet, Zimerman, Roge, Thibaudet, Friere - the last having a similar warmth and charm akin to Hewitt's touch. How does Hewitt rank with these greats? For me, its not a question of interest. Rather, I would cite that, between the rigorously researched liner notes and the posied, artistic performance here, this recording has deepened my insight and appreciation into the music of one of history's most revolutionary composers. I thoroughly loved this recording and was charmed by some of Debussy's less weighty but crafty compositions.

Last, Hewitt plays her beloved Fazioli grand here whose brightness sharpens the glissading passages high in the register and overall clarity of texture (also though avoiding excess pedal "smearing" of Debussy's supremely crafted harmonic progressions). In this, she may get close to the master's goal of a piano tonality without hammers, of "softy intoxicating sounds and scents that swirl together in the evening." The Hyperion recording is clear and mostly satisfying but lacking low-end frequency strength with an overly midrange dominance. Why doesn't this premium label perfect the darn recording part?! As usual, the liner notes Ms. Hewitt writes herself are compelling and support the overall experience of the music. Recommended even if you have a rack of Debussy recordings. Compositions - 5 stars; Performance - 5 stars; Sound quality - 4 stars.

Also, see her latest 2013 recording of Faure, continuing her tour of the great French Romantic composers.
Excellent, Sometimes Much Better 5 septembre 2015
Par mtspace - Publié sur Amazon.com
Format: CD Achat vérifié
Hewitt's rendering of Claire de Lune is so sparkling, sweet, and poignant that this piece alone justifies the full price of the CD. This is not to suggest that her playing is even the slightest bit worse on any of the other pieces. They are all approached with great care, sensitivity, and expressiveness. Rather, Claire de Lune is such a towering piece that it's not easy for other pieces to quite measure up - even very good ones.

The six pieces in The Children's corner have been given equal attention, and two or three of them approach a stunning (my six stars or eleven on the dial) effect. The Danse is a fun rollick - the tripping rhythms and sparkling textures. Arabesque #1, suggestive of shimmering light on water, is another towering piece and is executed crisply, and tenderly. It truly sparkles. The second Arabesque canters along, perhaps suggesting a youngster on a pony.

As is true of half or more of the pieces on this disc, Pour le Piano Prelude is one of those pieces in which textures are suggested by the rapid succession and repetition of notes or figures. As such it's hard to hear a melodic theme. Still, the textures are compelling. The Sarabande has more sad and sweet emotive weight.

One reviewer states that this is the opposite of Bach. And in many senses it is. But it does share some sensibilities. Bach wrote to pull at the heartstrings. This was a practice that several later Germanic composers eschewed: perhaps Hayden, certainly Brahms. Debussy and his contemporary French composers returned to Bach's idea of reaching us emotively. Hewitt's great sensibilities and her consummate expressive skill are ideally suited to playing music of both composers.

Highly Recommended for musical libraries of any size.
2 internautes sur 13 ont trouvé ce commentaire utile 
THE BEST DEBUSSY PIANO 14 février 2013
Par ian stapleton - Publié sur Amazon.com
Format: CD Achat vérifié
The playing of Angela Hewitt in this recording of Debussy is without peer. I will never tire of hearing it.
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