The well-tempered pianist

Angela Hewitt performed here in Madison over the weekend, playing Book One of Bach's "The Well-Tempered Clavier", three Chopin mazurkas (Op. 50) and Ravel's "Le Tombeau de Couperin" with astonishing and impeccable technique and insightful interpretations.

The concert's lucid program notes helpfully explained what the well-tempered scale is and how it came to be. Could it be that I might finally understand the "Pythagorean comma"? But there I was, getting all comfy, and now I learn that well temperament ≠ even temperament, with implications for authenticity rivalling the debate on Bach on harpsichord vs. piano. (As to which, by the way: Not Going There.)

I'll admit that I was drawn to the program for the Bach (and when I go to school on Bach, it will be via Miss Hewitt's justly renowned recordings of Bach's keyboard works), but the Ravel was a show-stopper, and the Chopin was meaty and profound, a revelation possible only with a performer that chooses to say "Listen to this" over "Look at me".

Angela Hewitt's web site mentions that her first recording of Beethoven sonatas is set for release next year (Op. 7, 10/3 and the "Appassionata"). I can't wait.

Comments

[Randa]

Isn't she wonderful?! She played in our small town of 6,000 last year...A favour to someone, obviously; her grandparents live here (which is an hour from Ottawa, Ontario where Angela grew up). It was a real treat for my teenagers (who play piano) and I to see her play.

[Chan S.]

I'll remember her performance (and the masterclass she gave the night before her concert) for a long, long time. I feel very lucky that she came to Madison and that we got to see her.