Maurice Ravel Angela Hewitt - Ravel The Complete Solo Piano Music (33 tracks) +Album Reviews

Riveting Ravel

05/28/2002

(5 out of 5 stars)

"Angela Hewitt, already known for her excellent interpretations of Bach's piano works, has turned her attentions to Ravel with equal effect. Her well-researched and accessibly-written liner notes alone are worth the price of the CD and it is clear that the research has not been just an intellectual exercise. Her playing is informed and technically splendid and the album benefits from a fine piano and good acoustics, essential elements in recording Ravel.I enjoy Angela's chameleon-like ability to play Bach as Bach, Ravel as Ravel, Granados as Granados, etc...Her technique is marvellous but, unlike many other great pianists, her ego takes a back seat and lets the composers/compositions shine in their own right."

More than a 'Bach Specialist'

Alan Lekan | Boulder, CO | 05/25/2005

(5 out of 5 stars)

"Taking a break from her vast Bach cycle for Hyperion Records, Angela Hewitt puts her mind and fingers to the very different musical challanges of Maurice Ravel and the 19th-century French romantic-modern style. Well, all here is not completely divergent from Bach's music as Ravel's "Le Tombeau de Couperin" is a "Bach or Couperin-like suite" containing a prelude, fugue, menuet and toccata - but, of course, not sounding anything like either of the Baroque masters! Regardless of the composer in question, Angela Hewitt is known for delving deep into a composer's life and music to emerge with the purest, most representative essence of each work. Accordingly, her readings in general stay true to the score and intent of the composer and are a good reference point with minimal "outside influences." Accordingly, her Ravel conceptions here are very idiomatic to the man and his era.

Having "one foot in classicism, another in Romanticm and yet another in Modernism," Ravel's music fascinates with its combination of clarity of form, evocative harmonies, gentle nuances and curiously shifting tonalities. Angela Hewitt's finesseful style is well suited to Ravel's often delicate, imagery-rich music with her lovely phrasing, feathery touch, and ability to achieve the beautiful tonal colorations so characteristic of French music of this period. As often stated about French music, "It is always meant to be beautiful," and Angela Hewitt sure can create beauty in this music. Ravel's dreamy, cascading pieces (Sonatine, Jeaux D'eau, Ondine and Miroirs) are conveyed with the lightest of texture, nuanced lyricism and feminine touch that can make Ravel sound so enchanting. Never a harsh note is heard. This pianist especially excels in drawing out the poignancy of Ravel's more introspective works like the Pavane or Menuet d'Haydn. In these, her line is heart-felt and beautiful. Yet, Hewitt can create a strong sense of drama and intrigue when needed in works like the early Serenade Grotesque or the highly intelligent Valses Nobles. Her Alborada (Miroirs) is hot and spicy - a fine tribute to Ravel's Spanish-Basque roots. Equally delectable are her crystalline chromatic textures and exacting rhythms in pieces like the Prelude, Forlane and the Chabrieresque Rigaudon of "Le Tombeau." Hewitt really brings out the best in Ravel's most curious and fascinating music.

As many know, one of Ravel's most significant and famous piano works is 'Gaspard de la nuit' which is something of a top pianist's 'right-of-passage' due to the immense virtuosity required. Probably the most riviting performance of "le Gaspard" was by Martha Argerich in a live concert (EMI). Some say you have not lived until you've heard Argerich's performance which is one of her most exciting on record. Contrastingly, Hewitt's approach the this daunting piece is one of more subtlety and precision of passage work, shunning sheer bravura. This is most notable in the last movement, Scarbo (an eerie being from the literary work who haughts at night). In this movement, Martha Argerich gives us a Scarbo that is indeed fully terrifying with her quicksilver virtuosity that haughts its victim more through sheer power (created through speed and volume). In contrast, Hewitt's Scarbo is more subtle and insideous - created from nuances of shading/tempo/dynamic. Both evoke an ominous atmosphere but in a different way. Certainly Hewitt's Scarbo is more 'tame' - but perhaps more stealthy and cunning than Argerich's overtly sinister Scarbo. Hewitt brings a real crystal-clarity to this third movement; but for some, it may lack drama and "punch" - but all do compared to Argerich's electrifying reading. But, to Hewitt's favor is the Sonatine where her delicate and ethereal playing far surpasses Argerich's hyper-paced reading which never quite finds the gentle emotional center (a common critique of Martha's readings).

This is a very fresh, inspiring set that critics have taken note. This 2001 set received very high marks from both Gramophone and Penguin who herald Hewitt as having achieved status among the great pianists recording Ravel. Pretty good for a so-called "Bach specialist." The more I listen to Angela Hewitt's talent, the more I appreciate this pianist's esprit, range of repertoire and ability to create tonal beauty in anything she sets her hands to on the piano. The sound quality is excellent (rich and full) as are the 14 pages (!) of SUPERB program notes (which include the full text of literary work, "le Gaspard de la Nuit"). These are some of the finest notes written and were immensely helpful to understand more fully this programmic piece as well as the context and history of all works. Ravel's fascinating piano music was a very pleasing revelation to me this year, and I consider this two-CD set one of the treasures in my collection - as I do pretty much all of Hewitt's ever-growing and superb-quality discography. if you like this set, you should check out Hewitt's 2006 release of Chabrier piano music which is equally fascinating."

Riviting Ravel

Alan D. Hewitt | PHILADELPHIA, PA United States | 02/26/2003

(5 out of 5 stars)

"Absolutely beautiful overall, powerful when needed, delicate when appropriate and always sensitive to what, I believe, were Ravel's intentions. But these are also fresh interpretations that I felt that I was listening to for the first time, especially the "Pavan." I have almost all of her Bach recordings and I am in the process of wearing them out! The Ravel is on that same level. Very highly recommended, even if you don't care for Ravel.Alan Hewitt (no relation, to the best of my knowledge)"

The sound of sprinkled diamonds

Zeno | New Jersey | 03/16/2007

(5 out of 5 stars)

"Perhaps a little poetic of a description, but that's my simple, non-expert opinion. I've heard various versions of Ravel's piano works over the years, but never like this: brilliant, crystalline, and crisply articulated; each turn of phrase throws light in all directions. Will lift you out of your chair. Simply dazzling."

Very Good Playing But Not a Good Deal at this Price - Consid

Doug - Haydn Fan | California | 04/05/2008

(4 out of 5 stars)

"Ms Hewitt, who at her considerable best regularly turns out very good Baroque offerings, here falls short of the finest interpretations of Ravel. Although the CD shows Ms Hewitt as a charming player in this modern (for her) repetoire, and although her piano is very nicely recorded certain hard facts have to be faced. Part of the problem is quite simply the lofty reaches of competition in this music: although a pianist of high standards and no small charm, considered against the finest pianists of all time Ms Hewitt rarely suggests overwhelming mastery and imagination. (On the other hand I have given four stars to some fine CDs, so I hope readers will not take this review as a dish!) Merely an attempt to add a little perspective and balance to the endless enconiums bursting out in the press over this CD like Ragweed in Spring.

First and foremost there's the little matter of price. At nearly fifty dollars for two CDs we're talking ridiculous! Surely the Euro isn't that strong against the dollar. What we're talking about here is marketing a popular commodity until the buyer finally comes down with the pocketbook equivalent of nosebleed. At a fourth the price of this set a buyer can pick up the estimable and certainly competitive Pacal Roge set - Ravel: Piano Works With the money left over you could then purchase a spectacular 2 CD set of Ravels' orchestra works conducted by MartinonRavel: Orchestral Works; But wait! You're not through! Just like the late night TV adds for fancy tomato cutters, there's still more! With the money you didn't spend on the Hewitt set you can also purchase any one of several outstanding examples of the piano concertos Ravel: Piano Concertos And we're not done yet with the goodies and extras! You still have enough money left over for the legendary Munch Boston Daphnis et Chloe!!!!!! - Ravel: Daphnis et Chloe [Hybrid SACD] (Should you insist on recent recordings they exist at reasonable price points too.Ravel: The Piano Concertos; Valses nobles et sentimentalesRavel: Boléro / Ma Mère L'Oye (complete ballet) / Rapsodie espagnole / Une Barque sur l'océan / Alborada del Gracioso - Berliner Philharmoniker / Pierre Boulez

Come on folks - it's your money - why give it to the ad agency creeps and their disingenous parasites in the press who think you're as dumb as lemmings and who are pumping up the price of what after all is a recording of but one single instrument - not a plethora of union salaried orchestra musicians - faster than premium unleaded!

Even looking at Hewitt's performances without financial considerations - and you shouldn't - they still fall short of the very best. As is the case with practically everyone else, save perhaps Richter and Michelangeli, Hewitt simply cannot compare to Argerich in Gaspard Prokofiev, Ravel: Piano Concertos, etc / Martha Argerich - Hewitt simply doesn't have Argerich's demonic digital prowess, nor anything like such a creative response. In the other works of Ravel I have similar issues. One listens awhile to Ms Hewitt as she plays one Ravel selection or another and the mind drifts to other performances, performances which capture in a way she doesn't the essence of the selection with greater panache and linger in the memory. Readers have to understand - Ravel's piano music is not an undiscovered country! In the exquiste "Miroirs", a creation of sublime delicacy, even Hewitt's fellow Canadian, Naida Cole, gives her a run for her money, and shows as well a superior poetic sensibility. Reflections

Too, many of the reviews here on Amazon describe excellencies in Hewitt's playing that I don't hear, and seem more the happy acquiesence of fandom in a favorite star's style and mannerisms than sharp critical listening. The point is not at all to say Hewitt plays poorly throughout this set; just that in every selection others can be found who play better, and frequently for a whole lot less money.

Last point: It must be recognized that Ms Hewitt's complete traversal of Ravel comes in the midst of a serious Ravel piano renaissance. Currently several fine pianists have complete competing sets, including a very good one (unfortuantely at the very high price point of the Hewitt set) by up and coming young French star Alexandre Tharuad on Harmonia Mundi Ravel: L'Oeuvre pour piano Tharuad's playing is informed with a broad and comprehenisve understanding of the history of Ravel performances; he studied and consulted with Manuel Rosenthal, and I urge wealthy, price is no object Ravel fans to give him a listen. Anyone demanding to hear these pieces in the most up-to-date modern sound AND not pay through the nose might consider a complete set by Jean-Efflam Bavouzet Ravel: Complete Piano Works. Ravel: Complete Piano Works His playing to my ear is quite distinquished, and his ear for the finest details astonishing. Like Hewitt he tends not to force the drama. Unlike a number of reviewers in major publications I find that where Hewitt's playing slips a bit here and there, (See the fair comments below Mr. Lekan's enthusiastic review) Bavouzet generally is secure. I'm willing to concede Hewitt displays more personality overall, but Bavouzet appears more accurate when you follow along with the scores. Don't let the unknown name throw you - Bavouzet is an established pianist with superb modern credentials. Just don't forget the fine Pascal Roge recording at it's give-away price when making your decision!

Last note: I find Ms Hewitt's repetoire expansion a teeny tad troubling - does she really think she can play music from any period as well as anyone? (She is now well on her way through a Beethoven cycle.) In a crowded market - and there are many, many Ravel sets past and present - only a few sets will survive for very long. No doubt Ms Hewitt's immense popularity is in play here. Again, not that there's anything intrinsically wrong with her recording the Ravel. However, better people can get lost in this name-driven marketing approach. The afore-mentioned Naida Cole gives an excellent and to my taste superior account of "Miroirs", yet despite some fair amount of acclaim Ms Cole has finally given up concertizing and recording and decided on a career in medicine. While I am not totally convinced by all that Ms Cole has recorded, if she can compete with a star like Hewitt, and she can, she certainly deserves further hearings. Unfortunately we'll never know what we may have lost. With fine Ravel from Tharaud, Bavouzet and several others, the competition is tough enough. Add in classical music's version of a super star like Hewitt with her large fan base and the market becomes saturated; fresh talent cannot grow and flourish.

So the next time you jump on the marketing bandwagon of some too-pushed highly popular performer with scores of yes votes, remember: there usually are consequences effecting your range of choices in the future when you opt for this simple and easy approach to shopping."

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