Angela Hewitt first came to international attention in her late 20s after winning first prize in the 1985 Toronto International Bach Piano Competition, an event held in honor of the late Glenn Gould. Her victory resulted in a solo Bach CD for Deutsche Grammophon released the following year, now reissued by Eloquence. By and large the performances have worn well. For example, the pianist’s clean articulation, canny dynamic deployment, and infectious rhythmic spring vivifies the Italian Concerto outer movements’ solo/tutti textural design, as well as adding color and dimension to the Four Duets by way of subtle harmonic and tempo inflections.
Sometimes I prefer the refinement and sharpened details of Hewitt’s Hyperion remakes, as in the Italian Concerto slow movement’s stronger melody/accompaniment delineation and greater expressive economy, or the E minor Duet’s less rounded-off phrasing. Regarding the D minor English Suite, it’s six of one, half a dozen of the other. Hewitt’s fingerwork in the Hyperion Prelude boasts heightened specificity, yet some listeners may find its Allegro too fast to absorb, as opposed to the earlier, more generalized traversal’s swift yet less breackneck pacing. The younger Hewitt alternates between the Sarabande and its ornamentally elaborated Double, eschewing all repeats. On Hyperion, she plays the Sarabande and Double in succession, with full repeats.
Perhaps the C minor Toccata takes first prize: its overall energy, spirit, and directness favorably compares alongside Hewitt’s slightly studied Hyperion remake. Although Hewitt’s Bach has evolved and matured over the past two decades, this early milestone still offers much to enjoy.
