Post by zeus August 6, 2005 (1 of 34)
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Post by aoqd22 August 6, 2005 (2 of 34)
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I have acquired vol 1 & 2 and IMHO these are wonderful well recorded performances. I grew up thinking Bach should be placed firmly in the dull boring up-and-down music bracket. These sparkling performances are not at all like this!
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Post by mdt August 6, 2005 (3 of 34)
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Have this recording and like it very much, wonderfull, lively playing and great piano sound. The use of a cembalo in adition to the piano for the continuo seems somewhat strange alltough, i'm uncertain what to think about it.
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Post by Beagle August 6, 2005 (4 of 34)
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mdt said:
The use of a cembalo in adition to the piano for the continuo seems somewhat strange alltough, i'm uncertain what to think about it.
Likewise! I broached exactly that question elsewhere, but nobody took the bait. I don't insist that harpsichord pieces be played on harpsichord BUT having both h'd and piano made the latter sound anachronistic, at least on 1st audit. I guess I've got used to it already now, but I can't say I like it. It is obvious from Hewitt's notes that she had to think twice on this one; my pref would've been to have Hewitt play harpsichord throughout the piece.
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Post by aoqd22 August 7, 2005 (5 of 34)
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Beagle said:
Likewise! I broached exactly that question elsewhere, but nobody took the bait. I don't insist that harpsichord pieces be played on harpsichord BUT having both h'd and piano made the latter sound anachronistic, at least on 1st audit. I guess I've got used to it already now, but I can't say I like it. It is obvious from Hewitt's notes that she had to think twice on this one; my pref would've been to have Hewitt play harpsichord throughout the piece.
A comment in the Hewitt's sleeve notes relating to the 2nd movt of the Brandenburg Conc 5 may provide us with a clue ... "there is need for a continuo group to accompany the flute & violin when the keyboard is not playing as a soloist. Normally, of course, the harpsichordist would do both but here we have used both instruments to clearly separate those passages".
One other thing just a bit off topic - if I was in a position to finance a future Hyperion recording project I would be suggesting Hewitt tackles the Beethoven piano concertos!
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Post by wolfE August 7, 2005 (6 of 34)
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Any information whether PCM or DSD recording?
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Post by zeus August 7, 2005 (7 of 34)
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wolfE said:
Any information whether PCM or DSD recording?
I think both discs are likely PCM. They were recorded by Audite's Ludger Böckenhoff, as are most of Hewitt's discs. As recordings, they're much more satisfactory than the live performance I heard earlier in the year. Highly recommended!
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Post by wolfE August 8, 2005 (8 of 34)
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zeus said:
I think both discs are likely PCM. They were recorded by Audite's Ludger Böckenhoff, as are most of Hewitt's discs. As recordings, they're much more satisfactory than the live performance I heard earlier in the year. Highly recommended!
Zeus, thank you for the information!
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Post by mdt August 8, 2005 (9 of 34)
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zeus said:
I think both discs are likely PCM. They were recorded by Audite's Ludger Böckenhoff, as are most of Hewitt's discs. As recordings, they're much more satisfactory than the live performance I heard earlier in the year. Highly recommended!
What wasn't good about the live performance ? Can't imagine Hewitt changing her interptretation completely for the recordings. Were all the forces the same ?
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Post by zeus August 8, 2005 (10 of 34)
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mdt said:
What wasn't good about the live performance ? Can't imagine Hewitt changing her interptretation completely for the recordings. Where all the forces the same ?
You can read my review of the live performance (at least the one I attended) here:
/showthread/5040/5062/y#5062
Simply put, the recordings are more satisfactory from both a performing and acoustic balance.
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