As we fast approach the Bach centenary year and the end of the millenium, issues such as these take on a special sort of significance. I have recently read a highly intriguing article on the absolute greatness of the legendary Dinu Lipatti, probably the greatest Bachian interpreter of all time. Listening to Angela Hewitt's magnificent playing in most of this revelatory set had me appreciate the greatness and mastery that lies behind these compositions. This is also a worthy release for Bach's anniversary year, which is fast coming upon us. Hewitt also contributes some staggeringly detailed notes that proceed to examine the pieces in detail and shed new light on the importance of their structural nature. This is in keeping with Hyperion's recent ploy of using the performer's themselves to write the booklet notes, surely making us listeners all the more richer!

Indeed it is difficult for a reviewer to doubt such authority of interpretation throughout. Angela Hewitt is a committed interpreter and throws everything into the music as the opening flourish of the first Prelude demonstrate. Listeners may be unaccustomed to the sound of a modern piano in Bach but such is the unaffected mannerism and loyalty of Hewitt to the score that such purist doubts pale into insignificance. She is at turns grand and ceremonial in the Fifth, by nature pensive and thoughtful in the sublime Tenth or dashingly debonair and full of flair in the dazzling fugues of the Second and Fourth pieces.

I took some time to get used to the complex quality of Bach's sublime inspiration but as the music grew on me, I was reluctant to stop drinking in this effusive mastery. Hewitt is obviously to be compared alongside such legends as Glenn Gould and the same Lipatti in such repertoire. It is heartening and gratifying to report that this unassuming and unaffected pianist is in no way outclassed by such awesome names, rather her confident and assertive style lends itself exclusively well to Bach's magnum opus for the keyboard. The second CD brings even more delights and surprises. Here it is interesting to note that, save for the 17^th and 18^th, Bach alternates major and minor keys of the same tonality, no doubt and exercise in harmony.

After some close listening, I was absolutely enthralled by the rounded and full sound which Hyperion get out of the Steinway, none more so than the tantalizingly simple ending to the 16^th fugue. Angela Hewitt is definitely the top modern recommendation for this set of Bachian grandeur and those who bought Volume 1 will certainly want to complete their set. Many teachers hold these 48 Preludes and Fugues as the Bible of all piano playing. With such a persuasive and talented guide as Angela Hewitt, the art of learning becomes transcendental.

Reviewer

Gerald Fenech

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