Angela Hewitt – Piano Music by Emmanuel Chabrier (2006) MCH SACD ISO + DSF DSD64 + Hi-Res FLAC

Angela Hewitt – Piano Music by Emmanuel Chabrier (2006)
PS3 Rip | SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 76:04 minutes | Artwork (PDF) | 3,51 GB
or DSD64 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Full Scans included | 3 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Artwork (PDF) | 1,12 GB
Features 2.0 Stereo and 5.0 multichannel surround sound | Hyperion Records # SACDA67515

Anyone with a passing awareness of her wonderful recordings for Hyperion knows that Angela Hewitt is one of the world’s leading interpreters of Bach, and that she’s no slouch in recording works by Chopin, Couperin, Messiaen, and Ravel, either. Add to this distinguished roster the name of Emmanuel Chabrier, whose keyboard works Hewitt recorded in 2004, and rendered with as much technical polish and expressive depth as anyone could lavish on them. Whether or not such light and sometimes inconsequential piano music deserves special treatment, Hewitt is unstinting in her musicality, and she delivers colorful, idiomatic readings of these late nineteenth century miniatures that arguably make them sound better than they really are. All will agree that Hewitt’s sensitivity and skill are beyond dispute and that this program is an excellent showcase for her astonishing abilities; it is only secondarily of interest because of Chabrier’s music, which tends toward mildly picturesque vignettes at best and shallow parlor novelties at worst. In the former category are the late pieces, Aubade (1883), Habanera (1885), and Bourrée fantasque (1891), which exude sophistication and dry wit, and seem slightly ahead of their time; also worth hearing for their charming modern qualities are the posthumously published Ballabile, Caprice, and Feuillet d’album (all 1897). Something of a mixed bag is Dix pièces pittoresques (1881), which are character sketches and dances in a pretty salon style, but most are melodically trite, harmonically predictable, and emotionally superficial. The earliest works offered, the Impromptu (1873) and the Ronde champêtre (ca. 1870), are less compelling, except perhaps for a few eccentric harmonies and rhythms that vaguely anticipate Ravel; little else recommends them except their period color. So fans of Angela Hewitt will rejoice that she performs here with her usual brilliance and panache, but they may feel a little less jubilant about her choice of repertoire this time out. Hyperion’s recording, however, is sublime in every way.


01. Impromptu, for piano in C major
02. Pièces posthumes (5), for piano: Ronde champêtre
03. Pièces pittoresques (10), for piano: Paysage
04. Pièces pittoresques (10), for piano: Mélancolie
05. Pièces pittoresques (10), for piano: Tourbillon
06. Pièces pittoresques (10), for piano: Sous-bois
07. Pièces pittoresques (10), for piano: Mauresque
08. PiÃ..ces pittoresques (10), for piano: Idylle
09. PiÃ..ces pittoresques (10), for piano: Dans villageoise
10. PiÃ..ces pittoresques (10), for piano: Improvisation
11. PiÃ..ces pittoresques (10), for piano: Menuet pompeux
12. Pièces pittoresques (10), for piano: Scherzo-valse
13. Pièces posthumes (5), for piano: Aubade
14. Pièces posthumes (5), for piano: Ballabile
15. Pièces posthumes (5), for piano: Caprice
16. Pièces posthumes (5), for piano: Feuillet d’album
17. Habañera, for piano (or orchestra)
18. Bourrée fantasque, for piano (also for orchestra)




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