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Bach: The Keyboard Concertos, Vol. 2 Super Audio CD
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Description du produit
Description du produit
Johann Sebastian Bach (1685-1750) : Concerto pour clavecin en la majeur, BWV 1055 - Concerto pour clavecin en ré majeur, BWV 1054 - Concerto pour clavecin en mi majeur, BWV 1053 - Concerto pour clavecin en fa mineur, BWV 1056 - Concerto pour clavecin et 2 flûtes à bec en fa majeur, BWV 1057 / Alison Mitchell (flûte) - Angela Hewitt (piano) - Emma Sholl (flûte) - Australian Chamber Orchestra - Richard Tognetti
GRAMOPHONE EDITOR'S CHOICE CD OF THE MONTH (Gramophone Magazine) CLASSICAL CD OF THE WEEK (The Sunday Times) ALBUM OF THE WEEK (Musicweek) CLASSICAL CD OF THE WEEK (The Daily Telegraph) DISC OF THE MONTH (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 Bach is well-known for its expressive restraint, lucid textures and rhythmic grace. These virtues are abundantly present in her thoughtful, unmannered approach to the Concertos. Contrapuntal arguments are admirably clear and Hewitt's restricted use of the sustaining pedal ensures a pleasing clarity of dialogue. These virtues are mirrored by the lightly articulated bowing of the strings of the Australian Chamber Orchestra under the direction of its leader Richard Tognetti … My own prefernce lies just with Hewitt and her Australian musicians' (BBC Music Magazine) 'As always, she [Hewitt] really sparkles in the allegros, infusing the music with wit as well as technical bravura' (Sunday Times) 'The familiar argument that Bach would have written for a piano if only he had had one is nowhere given more persuasive advocacy than in Hewitt's singing melodic lines, her judicious range of tonal colouring and in her touch, which combines the crispness and full flavour of a fresh apple. Take a bite of any of these concertos, and you will want to make a whole meal of them' (The Daily Telegraph) '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) 'Her fingers dance as well as sing: in the outer movements, rhythms are buoyantly sprung, and this communicates itself to the members of the Australian Chamber Orchestra, whose slender string accompaniment in no way lessens their energy, while Hewitt responds by projecting the piano parts with all due attention to Bach's overall texture' --(International Record Review)
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Something I have not heard her mention- the linage to Glenn Gould- a fellow Canadian- one hesitates to say she does it better- but she definitely stands on Glenn's shoulders...just as Fazioli pianos stand on the shoulders of Steinways.
But naturally- she does do it better- she has the talent. I can't imagine the person who will come along next?!?!?!?
Her Bach is the next great thing after Glenn. In her master classes on You Tube, she sort of puts down the G G detached style- and yet...she uses it too; some times.
Her concertos are delicate and expressive and full of additions Bach would surely love. She varies the dynamics. Her Australian co mates do the concertos justice with no nonsense baroque punctuation...there is no lingering and no drawn out finales.
Hewitt chose the Australian Chamber Orchestra after playing these works for many months with several orchestras around the world. Just hearing the first few bars of the first movement of the 6th concerto reveals how perfect Hewitt and the ACO are for each other and this music. The ACO's style and judgment are always in pefect compliment to Hewitt's playing - never overwhelming or underwhelming her gorgeous lines. If you prefer the more intimate dialog and effect of a smaller orchestra compared to the drama and power of a larger one, these performances should delight. There is a wonderful, chamber-like interaction and relaxed musicianship here that makes these performances rather irresistable and highly refreshing.
Compared to other "reference" recordings, there is more of a carefree flow of tempo - and really charm - in the Hewitt/ACO performances which have a Spring-like freshness in their appeal. Hewitt's playing is both delicate but completely commanding at the same time and blends wonderfully with the feathery tones of the two flute soloists and Richard Tognetti's masterfully appealing violin interludes. All use modern instruments, yet retain appropriate period mannerisms with sonorities that are beautiful, enhanced by superb Hyperion sound engineering. While Miss Hewitt could easily take over with her powerful Fazioli Concert Grand, she use finesse and nuance to create a more gentle interaction with the lithe ACO.
Having ten years of Bach recordings under her belt shows clearly in Hewitt's natural, at-one flow with the music - like she has penetrated the life within the music and just exudes it the most natural and intended manner like breathing. Her lines are sure and elegant and her ornamentations support the overall melody in the most delightful way that does not draw attention to the performer. Her bass 'flutters' are particularly appealing and inject nuances of artistry and excitement. This is music of top caliber and performances to be celebrated that have a timeless, ever-fresh quality that should wear well through the years. Such performances as this are one reason Miss Hewitt won the 2006 Gramophone "Artist of the Year" award.
The music industry reviews of these July '05 releases were on the positive side overall. ClassicsToday gave both CD's glowing reviews and a perfect 10/10 for Artistry/Sound Quality with Gramphone giving both discs the highest "Gem" award. Sound quality is excellent with even the non-SACD sounding brilliant and without fault (perfect balance, clarity of solists and depth of tonal textures). And with these concertos, Miss Hewitt completes her decade-long Bach traversal with a grand crescendo. Note: Both discs are available in one set as well. A real winner. Compositions - 5 stars; Performance - 5 stars; Sound quality - 5 stars.
ANGELA PERFORMING AT HER BEST!
I'LL RECCOMEND TO MY FRIENDS.
DON'T MISS THIS CD!
While on a recent flight on Etihad Airlines (the airlines of the United Arab Emirates- which by the way is AN OUTSTANDING airlines- for example they have very good pricing, great food, and over 60 movies to choose from-- also they have camera views so you can see exactly what the pilot is seeing, and another camera view so you can see straight down)- I started listening to this Bach recording.
I was VERY VERY impressed with it. Everything seems to work well in this recording. I bought a copy for myself and plan to buy another for a concert pianist friend of mine. Please listen to the samples that Amazon provides. I think you will like it.