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Bach: Fantasia in C minor / Two-Part Inventions / Three-Part Inventions / Chromatic Fantasia & Fugue

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Page Artiste Angela Hewitt

Détails sur le produit

  • Compositeur: Johann Sebastian Bach
  • CD (2 avril 2001)
  • Nombre de disques: 1
  • Label: Hyperion
  • ASIN : B000002ZUY
  • Autres éditions : Téléchargement MP3
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
  • Classement des meilleures ventes d'Amazon: 24.344 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Fantasie en ut mineur, bwv 906
  2. Invention n° 1 en ut majeur, bwv 772
  3. Invention n° 2 en ut mineur, bwv 773
  4. Invention n° 3 en ré majeur, bwv 774
  5. Invention n° 4 en ré mineur, bwv 775
  6. Invention n° 5 en mi bémol majeur, bwv 776
  7. Invention n° 6 en mi majeur, bwv 777
  8. Invention n° 7 en mi mineur, bwv 778
  9. Invention n° 8 en fa majeur, bwv 779
  10. Invention n° 9 en fa mineur, bwv 780
  11. Invention n° 10 en sol majeur, bwv 781
  12. Invention n° 11 en sol mineur, bwv 782
  13. Invention n° 12 en la majeur, bwv 783
  14. Invention n° 13 en la mineur, bwv 784
  15. Invention n° 14 en si bémol majeur, bwv 785
  16. Invention n° 15 en si mineur, bwv 786
  17. Sinfonia à 3 voix n° 1 en ut majeur, bwv 787
  18. Sinfonia à 3 voix n° 2 en ut mineur, bwv 788
  19. Sinfonia à 3 voix n° 3 en ré majeur, bwv 789
  20. Sinfonia à 3 voix n° 4 en ré mineur, bwv 790
  21. Sinfonia à 3 voix n° 5 en mi bémol majeur, bwv 791
  22. Sinfonia à 3 voix n° 6 en mi majeur, bwv 792
  23. Sinfonia à 3 voix n° 7 en mi mineur, bwv 793
  24. Sinfonia à 3 voix n° 8 en fa majeur, bwv 794
  25. Sinfonia à 3 voix n° 9 en fa mineur, bwv 795
  26. Sinfonia à 3 voix n° 10 en sol majeur, bwv 796
  27. Sinfonia à 3 voix n° 11 en sol mineur, bwv 797
  28. Sinfonia à 3 voix n° 12 en la majeur, bwv 798
  29. Sinfonia à 3 voix n° 13 en la mineur, bwv 799
  30. Sinfonia à 3 voix n° 14 en si bémol majeur, bwv 800
  31. Sinfonia à 3 voix n° 15 en si mineur, bwv 801
  32. I. fantasie
  33. II. fugue

Descriptions du produit

Descriptions du produit

Fantaisie en ut mineur, BWV906 - 15 Inventions à 2 voix, BWV772 à BWV786 - 15 Sinfonias à 3 voix, BWV787 à BWV801 - Fantaisie Chromatique & Fugue, BWV 903 / Angela Hewitt, piano


GRAMOPHONE EDITOR'S CHOICE 'As close to how I would choose to hear [the music] as I have yet had the pleasure of doing' --Gramophone

'Performances of exemplary clarity and craftsmanship' --CDReview

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26 internautes sur 28 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The first of Hewitt's monumental Bach cycle 25 mars 2006
Par Alan Lekan - Publié sur
Format: CD Achat vérifié
In 1994 a mostly unknown 'Canadian' pianist signed with Hyperion Records to begin recording the whole of Bach's keyboard works. Eleven years - and some 14 discs later - the dream was complete, but the pianist was now well known and respected as one of the great Bach interpreters of her generation. This CD was the first of these recordings and the logical place to begin.

The program here ranges from the more simple of Bach's compositions (Two-Part Inventions) to some of the more trecherous, virtuostic masterpieces (the two fantasias). Written by Bach for his son and students around 1723, the Two-Part and Three-Part Inventions form the foundational know-how and skills of Bach's countrapuntal keyboard art. For centuries now these works have been essential for any piano student learning the "basics" of figuration, melodic line, smooth legato, clarity of two and three voices and so on. The Three-Part pieces are fairly advanced pieces possessing complex voicing and passagework. As such they are pre-requisite for learning the more complex preludes and fugues of "The Well-Tempered Clavier." Like the pieces in the WTC, both sets of Inventions show Bach as both a master educator and deft lyricist with their range of emotive qualities. There is delicacy, pensiveness, vivacity, virtuosity and sorrow expressed in these miniatures - all while building the foundational skills (like seamless legato w/o use of the pedal) necessary for performing the major piano repertoire. Pianists worldwide owe a world of gratitude for Johann Sebastian Bach for such foundational compositions which have been reverently played by many of the great composers who followed Bach.

I'm not sure if it is more Bach's multi-faceted compositions or Miss Hewitt's varied and expressive playing of them, but these so-called "piano excercises" sound anything but that. Likely, it is both of the above factors. It was in this first recording that Hewitt showed the music world her ever-so delicate, poised and artistic pianistic mannerisms, transforming these student pieces into delightful little concert performances in themselves. Her readings are worthy role models for students focusing on the long, clear, lyrical line that is essential to Bach's music as well as rewarding to admirers of Bach's art. Perhaps what Miss Hewitt most brings to this music is her tasteful, expressive nuances: a subtle rubato, an enticing dynamic shading and an artistic variety of tone summoned forth from her Steinway Grand. Such qualities create more of an unfolding story within each piece than showcasing mere "finger dexterity exercises." Gramophone recognized this more sensitive tunement to the musical aspects too and gave this CD a solid recommendation.

If the Inventions are the "main course" of this set, then the two virtuoistic Fantasias which open and close the program are the delectable "appetizer" and "dessert" on the menu. Both show Bach as master of the extemporaneous "Style Fantasticus" that he most likely gleaned in his youth from his visit to hear the great organist, Buxtahude. Even in Bach's day supposedly, the great Chromatic Fantasia in D-minor was among his most popular piece as it is today. Both are exciting, daunting works played to perfection by Hewitt. As noted by Gramophone, "her readings of the fantasias are as eloquent and stimulating as any yet recorded by a harpsichordist." Also in support of the pianist is a fine recording ambiance by Hyperion that is hard to fault. Its rather ironic that this first CD of Hewitt's Bach recordings was the last of her entire discography I acquired. But even after hearing all her glorious performances of Bach's music - from the WTC and Goldbergs to the Toccatas, Suites and Keyboard Concertos - hearing these earliest and more straightforward pieces still brings great refreshment and satisfaction that is so common in Bach's music - and so common too in Angela Hewitt's masterful and colorful playing of them. Compositions - 5 stars, Performance - 5 stars, Sound - 4.5 stars.
56 internautes sur 56 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Sophisticated, understated Bach 23 mars 2002
Par Un client - Publié sur
Format: CD
I have several recordings of the Inventions and Sinfonias, both on harpsichord (Gilbert, Koopman) and piano-- but this is easily the most satisfying. Less quirky than Gould's, Hewitt's performance is the furthest thing from flashy or idiosyncratic and really allows the clarity and contrapuntal elegance of Bach's keyboard writing to shine through. The result is the furthest thing from didacticism, always a risk with works that have such a central position in every pianist's early training. While eschewing every excess, Hewitt is also unafraid to take some liberaties-- hear, for example, the octave-doubling in the f-minor Sinfonia, easily a highlight of the set and of this performance in particular. Excellent fill-ups as well, the virtuosic c-minor Fantasia (though performed, as is almost always the case, without its fragmentary companion fugue) and the "Chromatic" Fantasie & Fugue. Unhesitatingly recommended.
2 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Crisp, even, breathtakingly beautiful - a monumental accomplishment 13 juin 2011
Par A.T.R. - Publié sur
Format: CD
The CD cover has a succinct quote from Gramophone: "As close to how I would choose to hear [the music] as I have yet had the pleasure of doing." This about says it all. Here you will find no intolerable Romantic-style embellishments or wavering tempos, just Bach as he was meant to be played. A crisp and even performance, breathtaking in its unadorned beauty. I will add all of Angela Hewitt's other Baroque recordings to my wish list!
5.0 étoiles sur 5 Wonderful Ba ch reading 11 avril 2014
Par Frank J. Pilholski - Publié sur
Format: CD Achat vérifié
I heard a version of the piece by Simone Dinnerstein on the radio which I liked. Did some research and took Gramophone's recommendation. Glad it did. Really love the nuances of Angela's Hewitt's interpretation. Have listened to it over and over and keep finding things to love about it even more.
7 internautes sur 16 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Rushed Playing, Not My Favorite Bach 23 août 2008
Par MezzoInTraining - Publié sur
Format: CD
There is a deeply spiritual quality in Bach's music, that brings me closer to heaven every time I listen. This quality is present with such abundance in the Bach of the elderly Arrau and Kempff, that the music reached deeply into my soul and put me into tears at time.

IMHO, it takes a very refined sense of control to balance the multiple voices in Bach's polyphonic keyboard music. On one hand, each line needs to be given its due independence and prominence, and yet, at the same time, together they should sound "at peace" with one another harmonically. Hewitt's playing is usually muddy in the bass lines (as compared to the clarity achieved by Glenn Gould, Arrau or Kempff, the latter two even did it on unmodified pianos). Hewitt's playing also lacks the fore-mentioned finesse control, that caused the louder passages to sound "noisy" and "nervous". Also, while her phrasing is usually very good, her shaping may be considered overdone for Baroque keyboard music.
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