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| This final survey of the Baroque master’s concertos for keyboard soloists features the crisp touch of the acclaimed Canadian pianist. |
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| 1 Concerto for harpsichord, strings & continuo No. 4 in A major, BWV 1055: Allegro |
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| 2 Concerto for harpsichord, strings & continuo No. 4 in A major, BWV 1055: Larghetto |
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| 3 Concerto for harpsichord, strings & continuo No. 4 in A major, BWV 1055: Allegro ma non tanto |
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| 4 Concerto for harpsichord, strings & continuo No. 3 in D major, BWV 1054: [first movement] |
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| 5 Concerto for harpsichord, strings & continuo No. 3 in D major, BWV 1054: Adagio e piano sempre |
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| 6 Concerto for harpsichord, strings & continuo No. 3 in D major, BWV 1054: Allegro |
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| 7 Concerto for harpsichord, strings & continuo No. 2 in E major, BWV 1053: [first movement] |
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| 8 Concerto for harpsichord, strings & continuo No. 2 in E major, BWV 1053: Siciliano |
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| 9 Concerto for harpsichord, strings & continuo No. 2 in E major, BWV 1053: Allegro |
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| 10 Concerto for harpsichord, strings & continuo No. 5 in F minor, BWV 1056: Allegro |
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| 11 Concerto for harpsichord, strings & continuo No. 5 in F minor, BWV 1056: Adagio |
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| 12 Concerto for harpsichord, strings & continuo No. 5 in F minor, BWV 1056: Presto |
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| 13 Concerto for harpsichord, 2 recorders, strings & continuo No. 6 in F major, BWV 1057: [first movement] |
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| 14 Concerto for harpsichord, 2 recorders, strings & continuo No. 6 in F major, BWV 1057: Andante |
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| 15 Concerto for harpsichord, 2 recorders, strings & continuo No. 6 in F major, BWV 1057: Allegro assai |
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Album Review
This second volume of the keyboard concertos of J.S. Bach from Angela Hewitt, violinist/conductor Richard Tognetti, and the Australian Chamber Orchestra is delightful. As always, Hewitt's Bach is graceful, not too delicate; short but not sharp; with just enough shading with dynamics and pedal to give it a degree of depth and richness that enhances the music rather than over-dramatizes it. What is really pleasing about these performances is how incredibly well-matched and balanced the orchestra is with the piano. Tognetti makes sure all the players have a similar shortness in their articulation and a similar soft-edged tone. The balance of the recording lets the piano come just to the fore, never in danger of overpowering the chamber orchestra. In the Concerto No. 6, the piano is much more a part of the orchestra, less of a soloist, a response to this concerto's being a transcription of the Brandenburg No. 4. The two flutists on the concerto, Alison Mitchell and Emma Sholl, are also well matched. Tognetti gives all the faster movements of the concertos light, animated, dancing tempos, while the slower movements are more song-like. The opening of the Concerto No. 3, which can be stern and forceful, here is jaunty and positive. It's a combination of Hewitt's, Tognetti's, and the orchestra's skillful playing and that optimism in their interpretations that make this album so extremely agreeable and enjoyable. ~ Patsy Morita, All Music Guide
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• Biography
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Other albums by: Angela Hewitt |
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