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 ...
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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....
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