Review: Bath Mozartfest, Angela Hewitt, Assembly Rooms, 8/10 (Gerry Parker)
THE contrasting ways in which the themes are explored by the composers within Bach's Nun komm, der Heiden Heiland, Siciliano in G minor, and Sinfonia in D major, and Beethoven's Sonata in A major Op 101, were expertly illustrated by Angela Hewitt.
She skipped readily from the constant changes of position in the one and the intricate development of a similar theme in the other giving the impression that she was enjoying each new challenge.
The playing of the Bach and Beethoven was, or so it appeared to be, a fun thing to do, certainly not hard work in any way whatsoever.
The same high quality of playing was still firmly in place in the ten Contrapunctus from The Art of Fugue BWV 1080.
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But a little more of the enjoyment, which she had so readily passed on to the audience in the earlier pieces, and less intensity would have been out of place.
Her wonderful ability to roll from one phrase to another giving seamless continuity, was particularly well showcased in No 4 and 5.
She also is able to create a dramatic effect without having to indulge in an exaggerated pause.
There were lovely moments, as in No 6. That's when Angela did catch the same sense of fun that you feel the composer must have felt as he continually re-examined the same themes.
Here the attractive silver court shoe on her left foot jigged around as if wanting to break into a dance rhythm.
This same sense of enjoyment was present as she conducted herself into the opening of No 9, and on into the beautifully judged final passage.
Once again in this concert Angela Hewitt showed a warmth within her playing that relaxed her audience from the first opening bars, and ensured an enjoyment of the work on offer right to the last note.
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