Texte paru dans: / Appeared in: Hyperion |
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Outil de traduction ~ (Très approximatif) |
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Reviewer: Bradley
Lehman
Hewitt first recorded these
long and complicated suites in 1996-97 (Hyperion, not reviewed). For this
remake in December 2018 she wanted to document her newer understandings of
the music after 20 years of performing it, and to show off the tonal effects
she can get from her Fazioli piano. Further, this new set is a concert
souvenir to sell in her world tour with all of Bach’s keyboard music,
2016-2020. She recycled her program notes from 1997, adding only five new
paragraphs. The new performance is rich with the kinds of nuances that work
well in big concert halls. Before this assignment I hadn’t given close
attention to her older recording, but now I prefer it. She brought more
singing tone to her left-hand parts back then, treating them more as
melodies. Her interpreta-tion was simpler and more intimate. In the new
recording she plays a loud and too consistent staccato bass, not giving much
harmonic support to the right-hand I’d rather hear grace than showmanship in
these pieces; they were written for clavichord or harpsichord, not pianos
playing to the balconies of big rooms. Yes, this was Bach’s big splash in
the music world, publishing these pieces as his Opus 1 at his own expense.
Still, it was primarily music for connoisseurs to enjoy and study at home,
not to hear in public concerts. Listening to Hewitt I don’t feel emotions
arising from the music. I hear careful preparation to keep anything from
going wrong. I yearn for more irregularity and spontaneity. Some of her
sarabandes are slower and more precious than necessary, but everything else
is
moderate in both recordings. At least she is reliable and consistently
interesting. | ||||
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