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Angela Hewitt
Jane Brown
Marissa Pueschel
Elliot Samphier
“I know of no musician whose Bach playing on any instrument is of greater subtlety, beauty of tone, persuasiveness of judgement or instrumental command than Hewitt’s is here”
(BBC Music Magazine)
Artistic Director: Trasimeno Music Festival
Angela Hewitt occupies a unique position among today’s leading pianists. With a wide-ranging repertoire and frequent appearances in recital and with major orchestras throughout Europe, the Americas and Asia, she is also an award-winning recording artist whose performances of Bach have established her as one of the composer’s foremost interpreters. In 2020 she received the City of Leipzig Bach Medal: a huge honour that for the first time in its 17-year history was awarded to a woman.
Conducting from the piano, Hewitt has led the Toronto and Vancouver symphony orchestras, Hong Kong and Copenhagen philharmonic orchestras, Lucerne Festival Strings, Stuttgart Chamber Orchestra, Britten Sinfonia, Swedish and Zurich chamber orchestras, Salzburg Camerata, Orchestra Sinfonica Nazionale della Rai, Orpheus Chamber Orchestra in New York, Orchestra Ensemble Kanazawa in Japan, and Vienna Tonkünstler Orchestra in Vienna’s Musikverein. The upcoming 2023/24 season sees her performing with orchestras in Italy, Finland, Poland, Estonia and Switzerland, including on tour in the UK with Kammerorchester Basel as well as a tour of North East England with Royal Northern Sinfonia.
Elsewhere, Hewitt continues to present recitals, including concerts and festival appearances in Boston, Baltimore, Toronto, Ottawa, Rome, Zurich, Copenhagen, Cambridge and Stresa. She is also an artist-in-residence at London’s Wigmore Hall, where, back in 2016, she launched her Bach Odyssey, performing the complete keyboard works of Bach in a series of 12 recitals across the world; the cycle was also presented in New York’s 92Y, and in Ottawa, Tokyo and Florence, concluding in 2022.
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Hewitt’s award-winning cycle for Hyperion Records of all the major keyboard works of Bach has been described as “one of the record glories of our age” (The Sunday Times). Her discography also includes albums of Couperin, Rameau, Scarlatti, Mozart, Beethoven, Chopin, Schumann, Liszt, Fauré, Debussy, Chabrier, Ravel, Messiaen and Granados. The first CD of three Mozart albums, dedicated to the composer’s complete sonatas was released in November 2022, with the second slated for release in October 2023. In 2023, Hewitt’s complete catalogue becomes available on all major streaming platforms, following Universal Music Group’s acquisition of the independent classical label. Albums such as her critically acclaimed Diapson d’Or recording of the Goldberg Variations were included in the first release in July. A regular in the USA Billboard chart, her album Love Songs hit the top of the specialist classical chart in the UK and stayed there for months after its release. In 2015 she was inducted into Gramophone Magazine’s Hall of Fame thanks to her popularity with music lovers around the world.
Born into a musical family, Hewitt began her piano studies aged three, performing in public at four and a year later winning her first scholarship. She studied with Jean-Paul Sévilla at the University of Ottawa, and in 1985 won the Toronto International Bach Piano Competition which launched her career. In 2018 Angela received the Governor General’s Lifetime Achievement Award, and in 2015 she received the highest honour from her native country – becoming a Companion of the Order of Canada (which is given to only 165 living Canadians at any one time). In 2006 she was awarded an OBE from Her late Majesty Queen Elizabeth II. She is a member of the Royal Society of Canada, has seven honorary doctorates, and is a Visiting Fellow of Peterhouse College in Cambridge. In 2020 Angela was awarded the Wigmore Medal in recognition of her services to music and relationship with the hall over 35 years.
Angela lives in London but also has homes in Ottawa and Umbria, Italy where, eighteen years ago, she founded the Trasimeno Music Festival – a week-long annual event which draws an audience from all over the world.
HarrisonParrott represents Angela Hewitt for general management.
“[‘Piano Sonatas K310-311 & 330 – 333’ recording released on Hyperion Records] It is an energetic, explicitly formulated visit to Mozart’s musical puppet theater, and in its intellectual and virtuoso agility it is quite comparable to the silent film acrobatics of the young Charles Chaplin. And even if it doesn’t always sound pleasant, there is much more truth in this than in the hordes of Mozart whitewashers that have bored us for too long: a radical, courageous undertaking that deserves attention.”
“[‘Piano Sonatas K310-311 & 330 – 333’ recording released on Hyperion Records] Hewitt plays all these pieces with the greatest subtlety and care… The bright tone of her Fazioli piano is admirably suited to the character of these works, and these performances seem to me ideal accounts of them.”
“Angela Hewitt gave a superb performance … the balance between soloist and orchestra always just right. Hewitt’s playing was crystal clear and felt fresh and personal, as if we were hearing this familiar music for the first time.”
“If this first volume [Mozart Piano Sonatas K279-K284 – K309 released on Hyperion Records] is anything to go by, the journey will be a joy… Hewitt makes them sound effortless. Her articulation is clean, the pedalling lightly judicious, her fingers nimble and strong, the ornamentation always tasteful, while the clarity of her approach brings out the individual character of each sonata, each movement.”
“Through a personal selection and subtle order of presentation, Hewitt accentuated the astonishing variety of Bach’s keyboard concertos”
“Hewitt’s playing complemented that of the orchestra with great finesse. All her solos were expressive rather than showy. Every note counted and her rapport with the orchestra and conductor was evident.”
“Hewitt rests her head briefly on the top of the piano and recovers to accept the tumultuous applause. We’ve been privileged to hear an artist of astonishing brilliance who never lets us forget her humanity.”
“Hewitt brought to each [Messiaen] prelude an intense and wonderfully controlled expressive focus. To those who only associate Angela Hewitt with Bach, this would surely have been a revelation”
“Angela Hewitt’s spacious, uncluttered approach revels unashamedly in the pianism while still letting the original songs sing. […] In all, this beautifully recorded recital [‘Love Songs’ recording released on Hyperion Records] is a gift to all song-loving pianists who wrestle with the instrument’s stubbornly percussive nature.”
“In Hewitt’s loving hands it gave the best possible blessing to an intensely human experience”
“To have learnt this vast body of work by heart and performed it al over the world is a measure of her achievement and yet, even a much-played piece such as the concerto still emerges with pristine freshness in her flexible hands, and the attention to detail she lavishes on the smaller pieces always inspires admiration and love for this eternally rewarding music.”
“The soloist was Angela Hewitt, whose fine, supple touch gleamed ravishingly through the conversational exchanges and cadenza alike.”
“The English Suites… proved an ideal vehicle for Hewitt ’s pianism, the individual lines dancing and brimming with character under her light and graceful touch…Hewitt and Bach are clearly a match made in heaven.”
“From the outset, Glover insisted that the orchestral lines sing forth, a seemingly endless flow of melody defining her vision of the first movement. Pianist Hewitt concurred, bringing expressive shape to even rapid-fire arpeggiated figures. Hewitt’s tone changed constantly to express the ever-shifting character of the music, the pianist sometimes moving from bright to dusky timbres at the drop of a sixteenth note. In minor-key passages, she illuminated the depth and darkness of late Mozart.”
“Angela Hewitt’s piano playing was superb; it’s a challenging part [Messiaen’s Turangalîla Symphony] (full of rapidly hammered fistfuls of notes), and she tackled it with the bravura and élan of a Griezmann, her right-hand-raised grandes gestes adding to the drama.”
“Ravel’s colors and range of expression produce a unique beauty and demand both exceptional technique and an effortless manner. Hewitt handles all this music with seeming ease and an unusual feeling of musical weight, which makes her interpretation of Gaspard de la nuit less atmospheric but ominous. She is eminently rational throughout the recording, always keeping Ravel’s clear thinking and language to the fore.”
“Grand architectural design was always in view, as things generally grew louder and slower. […] In the penultimate variation, Hewitt added octaves, apparently to achieve a richer, organ-like sonority. When the aria returned at the end, it seemed a fragile memory of better times. These were “Goldbergs” unlike any other.”
“The pianist had the audience on the edge of their seats in her entrancing performance of Beethoven’s Sonata No. 17 in D minor ‘The Tempest’, whipping up a highly-charged musical storm – a stunning tour de force.”
“What enviable poise and expressive beauty to launch the central Andante, what muffled and sustained opening octaves, what concentrated focus. This [Liszt’s Sonata in B minor] is possibly the very finest of Angela Hewitt’s many recordings.”
“I won’t mince words. This Art of Fugue is marvellous. The variety and beauty of tone alone make compelling listening, bringing contrasts, clarity and warmth to Bach’s intellectual marvels.”