Piano Sonatas. Volume 2 (CD)

Angela Hewitt is widely acknowledged as one of the great pianists of the age. Gramophone Artist of the Year in 2006 and the recent subject of a week-long artist focus on BBC Radio 3, her frenetic concert schedule and expanding discography bear testimony to her extraordinary talent and energy. Hewitt’s legion of fans will be delighted at this eagerly awaited second volume of Beethoven sonatas. Her first release in this series was fulsomely praised for its ‘clarity, intelligence and elegance’ … ‘fusing poetry and passion’, and all these trademark qualities of her playing are fully present in this second disc. Angela presents three very different works here, written within a period of seven years: the enchanting ‘Pastoral’ Sonata Op 28, the monumental ‘Pathétique’ Op 13 and the dazzling early masterpiece Op 2 No 3. Her interpretations are vividly personal, yet the voice of the composer speaks clearly throughout.

CLASSIC FM MAGAZINE INSTRUMENTAL DISC OF THE MONTH
'Angela Hewitt is on characteristic top form in three of Beethoven's iconic sonatas … Hewitt's intelligent planning gives it [Pathétique] a hardcore makeover. The extremes of dynamic range are deftly realised, and she's fearless at articulating with a brittle touch where necessary' (Classic FM Magazine *****)
'The Pastoral sonata leads off Angela Hewitt's second Beethoven sonata cycle instalment, and she taps into the music's overall geniality while also paying heed to its darker corners … I love Hewitt's conversational give and take between the droning left-hand ostinato and the main theme at the Rondo finale's outset … In addition to Hyperion's superb sound, Hewitt, as usual, provides her own penetrating, vividly articulate annotations' (Gramophone)
'Throughout, Hewitt maintains her trademark clean tone. Colours are beautifully controlled, forms coherently shaped' (The Sunday Times)
'Hewitt punches out the dramatic opening chords of Beethoven’s Pathétique sonata with stinging vehemence, but otherwise plays the three sonatas here with a light touch. She often lingers deliciously over the Pathétique’s rich dissonances, while the adagio cantabile sings under her featherweight fingers and the rondo surges with spritely abandon at each return of the theme' (The Times)
'Hewitt's fluent pianism … There's no shortage of imaginative touches in Hewitt's performances of the Pastoral sonata' (BBC Music Magazine)
'Quietly dazzling … In the Scherzo [Pastoral] the B minor trio is also marvellous - fleet, shadowy, all taken in a single breath … Next, the Pathétique, which suits Hewitt very well. In the first movement, I particularly like the way in which she projects the Sturm-und-drang quality of the main Allegro di molto e con brio without turning it into the Appassionata … [Op 2 no 2] Hewitt sounds completely happy playing it, and she finds just the right balance between its extrovert bravura and its lyricism' (International Record Review)