Dear Angela, I am just coming excited from your Concert in Pavia. The unnecessary applause at the end of the first movement of the Concert in A (on the other hand irresistible) does not detract from the enthusiasm that transmits this music and this great performer, who is you. The intent with the Camerata Salzburg was perfect. It is perhaps time for another recording of these concerts? Thanks again Angela, and Bach live forever Francesco
Hi Angela, Loved your performance of Beethoven's Emperor Concerto last night at Roy Thomson Hall. The solo piano part at the end of the first movement was pure magic.
Enjoyed your Edinburgh concert hugely. A real testament to the greatness of Bach. I mentioned afterwards an inspiring book about Bach which I'm guessing you know already...Evening in the Palace of Reason by James Gaines. Not sure if you get the chance to immerse yourself in the cantata repertoire! But if you don't know it, spend 10 minutes on BWV 118, a breath-taking motet that miraculously captures all that is great about humankind. What a man... What a world to have such a man in it!
I was fortunate to hear you play last night in San Jose. The Beethoven was wonderful. You were also gracious enough to sign my CD of Faure. Thanks for the music.
Dear Angela I had the huge privilege and joy to hear part two of The Art of the Fugue in Harrogate on Sunday. I had attended Part 1 last year so this recital was much anticipated. I was truly moved - to tears - by your interpretation of the final contrapunctus followed by chorale prelude BWV668 Thankyou so much
Dear Angela Your recital in YMCA was stunning. Comparing to Your Suites recording, I feel that Your live performance is more free and wild in positive meaning. Last time I heard so great playing was 8 years ago when You played Echo as encore. Please dont us wait next 8 years to visit our country again! Merry Christmas and Happy New Year
Dear Ms. Hewitt, I just discovered you on YouTube. I thought I knew Bach but you're showing me so much more of him. Thanks! Warren San Carlos, CA
Hello again! I"m sorry that this posting is a little late. I attended both of your recent concerts in Tokyo and I learned so much from your incisive playing. The architectural structure of Bach is greatly enhanced by the clarity and precision of your artistic instinct. I was particularly enthralled by the way you let the voices move seamlessly between both hands, as required. Some of the pieces were orchestral, others were chamber-like and then there were the chorales! I cannot wait until the release of your interpretation on disc. I feel that is great privilege to be able to hear you in such a small venue as Oji Hall, however, the audience tends to be composed exclusively of members, which limits access to younger people. I'm not sure if your Nagoya venue was larger and you had an opportunity there to enjoy sharing your music with a wider audience. I hope you did. Regardless, I look forward to your next visit and appreciate the effort you make to come to Japan. Brava! J
Dear Angela, I have been moved many times at concerts but never before have I shared such a private moment with a performer as I did when you first stood up to receive your applause. Your shared your soul through your magnificent, sensitive playing of The Art of Fugue and took us closer to Bach than I ever thought possible. You also kindly wished my young daughter well with her piano and that is more appropriate than ever as she has her final audition for a Music School this week. Thankyou and I hope you return to Glasgow soon.
Hi Miss Hewitt, Thanks for your great music making, in concert and on records. With your busy schedule I doubt that you will have the time to answer my question, but I'll ask it anyway: based on your now vast experience of playing Bach and teaching Bach-playing, if you had to summarize, what would you say is the greatest difficulty in playing Bach? Is it choices of tempo, is it keeping a sense of dance in the dance-inspired movements, is it articulation (staccato vs legato and the many shades of staccato and legato), or has it to do with voicing and bringing out clearly the different strands of his contrapuntal writing? I know it's a difficult one and it is probably impossible to synthesize in a few words such complex issues, but I'll be happy and honored to share your thoughts. Best wishes ER