Fugue

Angela Hewitt - Bach: Fantasia & Fugue In A Minor, Aria Variata etc.
SACD ISO: 2,86 GB (Stereo + MCH DSD) | FLAC @ 24bit/88.2kHz: 1077 MB | Full Artwork | 5% Rec. Info
Label/Cat#: Hyperion Records # SACDA67499 | Country/Year: UK 2004
Genre: Classical | Style: Baroque

…And Hyperion's sound captures Hewitt's performances in sound as clear and warm as the rest of their wonderful recordings. A magnificent conclusion to a monumental cycle, Hewitt's final Bach disc will appeal to anyone who loves life and Bach.

Angela Hewitt - Bach: Fantasia & Fugue In A Minor, Aria Variata etc.
EAC+LOG+CUE | FLAC: 216 MB | Full Artwork | 5% Recovery Info
Label/Cat#: Hyperion Records # SACDA67499 | Country/Year: UK 2004
Genre: Classical | Style: Baroque

…And Hyperion's sound captures Hewitt's performances in sound as clear and warm as the rest of their wonderful recordings. A magnificent conclusion to a monumental cycle, Hewitt's final Bach disc will appeal to anyone who loves life and Bach.

Many composers have written music for children, or about childhood. Very few however have been as successful in understanding the world of children and music as Benjamin Britten. His ‘Young Person’s Guide to the Orchestra’ quickly became one of his most popular works internationally. It is a brilliant showpiece for orchestra based on a theme from ‘The Moor’s Revenge’ or ‘Abdelazar’ by Purcell. Variations for each section of the orchestra are followed by a brilliant fugue for the full orchestra. The RLPO has a long history with this piece and gave the first performance under Sir Malcolm Sargent in 1946, and the recording that followed that year won the ‘Orchestral Record of the Year’ award at the 1948 annual conference on Gramophone Critics in New York.

Max Reger's music is never likely to be popular. Among this century's great pianists, only Rudolf Serkin championed some of it (the piano concerto in particular), and it's easy to see why this composer's dense, uncompromisingly note-heavy scores fail to appeal to most players. Simply put, when badly performed the music sounds like mud. All of its excruciating difficulties in performance are intellectual: the pianist has to plow through (and clarify) thickets of contrapuntal detail, and though the music really does demand a virtuoso technique, there's nothing flashy or spectacular about it at all.

What you will find on this disc is A) contrapunctus I-IX played on two different organs in 1962; B) contrapunctus I II & IV from a1981 TV broadcast; C) contrapunctus IX XI & XIII in mono from a radio broadcast in 1967; D) the unfinished contrapunctus XIV from what may or may not be the same TV broadcast as B); and as a final filler E) a prelude and fugue on the name BACH from a studio recording in 1980. Items B)-E) are given on the piano.