Angela Hewitt Plays Beethoven
Posted by: Todd A on 24 July 2007
The first thread is here.
I enjoyed Angela Hewitt’s first volume of Beethoven’s piano sonatas, with its emphasis on clarity and rhythmic drive, so I thought I might as well give her second volume a try. Different works, but the overall style should work. But what if Hewitt’s style was slightly altered?
Well, that’s what seems to have happened here. Her playing isn’t much different, but it’s different enough. Her slight stylistic adjustments appear in the first work, the great Pastorale. Sure, the Allegro displays Hewitt’s nice rhythmic sense, and has nice clarity where appropriate, and has a slightly edgy middle section, but it also sounds a bit softer. Hewitt deploys smooth legato to soften the Fazioli sound, and the effect is quite positive. The Andante has a brisk, clipped sound at the open, yet still manages to sound pleasant – albeit with slight nervous edge. The middle section is jocular and nicely dynamic and has just a hint of bite. The Scherzo sounds somewhat stark as presented, with some abruptly clipped notes and terse dynamic shifts, and it all sounds fine. The Allegro ma non troppo is taken at a quick but graceful tempo, making it sound full of pep and joy, yet it’s also slightly smoothed out. A nicely accelerated ending caps off a very nice reading. The first work ends up being the highlight of the disc.
The Pathetique ends up being the relative weak link, and it is so because of the same soft sound that permeates the opening work. The Grave sounds small and weak, at least when compared to more vigorous readings. There’s little intensity and no real flair. The Allegro di molto con brio sounds much the same, with a slightly leisurely overall tempo added to the mix. The second time around with the material picks up the pace and the intensity a bit, but it never really excites or digs deep. The Adagio cantabile is taken at a nice tempo and is surprising for the more or less total lack of bite that should be present in a recording of a Fazioli. Sure, it’s still bright-ish up top, but it doesn’t sting or tingle. The concluding Rondo is played pleasantly enough, but is pleasant what one really wants here? Drive and strength aren’t much in evidence, and the overall sound is a tad limp. I wanted much more than I got. If you have a hankerin’ for a kinder, gentler Op 13, this will not disappoint.
The last work on the disc is the last of the opening Op 2 triptych. Hewitt’s reading is excellent overall, but she had the misfortune of being heard shortly after the much more exciting and compelling recording by Ronald Brautigam. She opens the Allegro con brio with decent levels of energy and drive, presents a nice dynamic sweep, and has a sure rhythmic sense. It’s all there. But Brautigam offers more of everything. The Adagio has some nicely delicate playing, though it seems as though it might be too soft for the music, but those tolling bass notes sure hit home. There’s a lack of ultimate focus at times, too; the playing seems to meander just a bit. The Scherzo sounds a bit broad in overall conception, but has some nice biting notes and absolutely superb clarity of voices. The Allegro assai opens in breezy, tickly fashion, and possesses decent drive mixed with the new found softness Hewitt brings. Overall, it’s good. Brautigam’s is just much better.
The second volume just doesn’t work as well as the first volume in the series, though there are some fine things here. Maybe Hewitt can pick things up next time around. Superb sound.
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I enjoyed Angela Hewitt’s first volume of Beethoven’s piano sonatas, with its emphasis on clarity and rhythmic drive, so I thought I might as well give her second volume a try. Different works, but the overall style should work. But what if Hewitt’s style was slightly altered?
Well, that’s what seems to have happened here. Her playing isn’t much different, but it’s different enough. Her slight stylistic adjustments appear in the first work, the great Pastorale. Sure, the Allegro displays Hewitt’s nice rhythmic sense, and has nice clarity where appropriate, and has a slightly edgy middle section, but it also sounds a bit softer. Hewitt deploys smooth legato to soften the Fazioli sound, and the effect is quite positive. The Andante has a brisk, clipped sound at the open, yet still manages to sound pleasant – albeit with slight nervous edge. The middle section is jocular and nicely dynamic and has just a hint of bite. The Scherzo sounds somewhat stark as presented, with some abruptly clipped notes and terse dynamic shifts, and it all sounds fine. The Allegro ma non troppo is taken at a quick but graceful tempo, making it sound full of pep and joy, yet it’s also slightly smoothed out. A nicely accelerated ending caps off a very nice reading. The first work ends up being the highlight of the disc.
The Pathetique ends up being the relative weak link, and it is so because of the same soft sound that permeates the opening work. The Grave sounds small and weak, at least when compared to more vigorous readings. There’s little intensity and no real flair. The Allegro di molto con brio sounds much the same, with a slightly leisurely overall tempo added to the mix. The second time around with the material picks up the pace and the intensity a bit, but it never really excites or digs deep. The Adagio cantabile is taken at a nice tempo and is surprising for the more or less total lack of bite that should be present in a recording of a Fazioli. Sure, it’s still bright-ish up top, but it doesn’t sting or tingle. The concluding Rondo is played pleasantly enough, but is pleasant what one really wants here? Drive and strength aren’t much in evidence, and the overall sound is a tad limp. I wanted much more than I got. If you have a hankerin’ for a kinder, gentler Op 13, this will not disappoint.
The last work on the disc is the last of the opening Op 2 triptych. Hewitt’s reading is excellent overall, but she had the misfortune of being heard shortly after the much more exciting and compelling recording by Ronald Brautigam. She opens the Allegro con brio with decent levels of energy and drive, presents a nice dynamic sweep, and has a sure rhythmic sense. It’s all there. But Brautigam offers more of everything. The Adagio has some nicely delicate playing, though it seems as though it might be too soft for the music, but those tolling bass notes sure hit home. There’s a lack of ultimate focus at times, too; the playing seems to meander just a bit. The Scherzo sounds a bit broad in overall conception, but has some nice biting notes and absolutely superb clarity of voices. The Allegro assai opens in breezy, tickly fashion, and possesses decent drive mixed with the new found softness Hewitt brings. Overall, it’s good. Brautigam’s is just much better.
The second volume just doesn’t work as well as the first volume in the series, though there are some fine things here. Maybe Hewitt can pick things up next time around. Superb sound.
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