United Kingdom Handel, Bach, Haydn and Brahms: Angela Hewitt (piano). Wigmore Hall, London, 23.1.2025. (CSa)
Handel – Suite No.2 in F, HWV 427; Chaconne in G, HWV 435 (1733)
JS Bach – French Suite No.6 in E, BWV 817
Haydn – Piano Sonata in E flat, HXVI/52 (1794)
Brahms – Variations and Fugue on a Theme of Handel, Op.24 (1861)
Should anyone ask Wigmore Hall afficionados to list the artists regularly appearing there in order of popularity, the Ottawa-born, London-based pianist Angela Hewitt would surely be at the top. She was greeted by the full-to-capacity audience at her most recent appearance like an old and much beloved friend. Gracious, generous, unaffected and supremely accomplished, Hewitt, attired in a glittering sequined top, dazzled literally and figuratively in a 90-minute programme of Handel, Bach, Haydn and Brahms. Sitting at the piano erect and perfectly poised, as her hands moved up and down the keys with undemonstrative fluidity, emotion is all in the sound. As is her custom, Hewitt chose to play on a sleek ebony Fazioli concert grand rather than the hall’s regular Steinway, no doubt preferring the Italian instrument’s crystalline and precisely controlled sound to the warmer, darker and more mellow tones of its German counterpart.
The Fazioli’s brighter total palette and greater clarity worked well in highlighting the exquisite ornamentation in the baroque and classical elements of the programme – Handel’s Suite No.2 in F, and Chaconne in G, Bach’s French Suite No.6 in E, and Haydn’s Piano Sonata in E-flat – but a little less so in the richly romantic fugal passages of Brahms’s Variations and Fugue on a Theme of Handel. Yet, this is a minor quibble when considering the emotional range, technical virtuosity and sheer artistry of Hewitt’s recital overall.
From the first courtly bars of the operatic Adagio of Handel’s Suite No.2, Hewitt’s playing was luminous. A joyful second movement Allegro followed by a short but elaborate Adagio gave way to a complex four voice fugue within which one could almost hear the peeling of cathedral bells.
Hewitt is considered one of the foremost keyboard interpreters of Bach. It took her 11 years and a total of 17 CDs to record almost all of his major keyboard works, and her exquisitely crafted rendition of French Suite No.6 did not disappoint. Each of the eight dances which comprise this work – in turn buoyant, tender, sad or exuberant – was subtly and skilfully woven into a coherent whole.
András Schiff has long contended that Haydn’s estimated 62 piano sonatas (some say less) are under-appreciated and under-performed. It was a therefore a treat that Hewitt chose the Piano Sonata in E-flat of 1794 – Haydn’s last – to end the first half of the concert. The sonata is almost symphonic in scale and is contended by the distinguished music writer Richard Wigmore to be ‘the grandest and most spacious of them all’. Hewitt executed the first movement Allegro with great refinement without sacrificing its drama and suspenseful unpredictability, while the Adagio, played with complete control, calmed with its utter tranquillity. The Finale: Presto taken at breathtaking speed, brought us to the well-timed interval, after which an ornately decorated Chaconne by Handel paved the way for Brahms’s mighty Variations and Fugue on a Theme by Handel.
Brahms’s brilliant set of 25 contrapuntal Variations with their range of dances, echoed the pattern of the earlier Bach and provided logical continuity to the programme. Hewitt’s robustly rhythmic 1st variation, enchantingly lyrical 2nd variation, magical 12th and funereal 13th were typical of the dynamic control, expressive range and sensitivity of touch she brought to all twenty-five. One cannot fail to comment on the power and majesty she bestowed on the enormous final fugue whose complexities were concealed by her technical prowess. This was an utterly compelling performance and marked a welcome return to the Wigmore Hall by a much-loved friend.
Chris Sallon