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Angela Hewitt gives magical Mozart with Andrew Davis and the BBC Philharmonic and four twentieth century masterpieces looking back to the past complete a rewarding and unusual programme

A stunning Mozart piano concerto with Angela Hewitt and a dazzling recent piece are framed by serious but uplifting orchestral works by Britten and Strauss.

Violinist Blake Pouliot, cellist Bryan Cheng, and pianist Angela Hewitt, all previous winners of the Orchestre symphonique de Montréal’s Concours, return to perform Beethoven’s Triple Concerto.

Angela Hewitt’s definitive all-Bach program was anchored by the first three of the English Suites.

This concert at Usher Hall delivered extraordinary playing, in repertoire ranging from Beethoven to Bernstein and Sibelius.

Revelling in the luscious orchestrations and sumptuous melodies, it was a rare treat to bask in such obvious delight from both conductor and orchestra.

For the first of three concerts at the Cadogan Hall, the Vienna Tonkünstler Orchestra gave a heavy account of Beethoven's Piano Concerto no. 4, lightened by the graceful playing of Angela Hewitt, followed by a rich New World Symphony.

In an all-Bach programme at Zurich’s historic Tonhalle, Canadian pianist Angela Hewitt recently took over both keys and baton in concert with the Zurich Chamber Orchestra (ZKO). 

Angela Hewitt: formidable de Falla and sensual Albéniz made up for overwrought Scarlatti at the Royal Northern College of Music.   

Core repertoire from across nearly two centuries formed the basis of a recital programme that forged a link from Bach to Ravel.

If we consider Domenico Scarlatti an honorary Spaniard, since half of his life was spent there, then this was an entirely Spanish programme. 

Angela Hewitt's Spanish Lanscapes offered perfect summer fare delivered with flawless execution.

Worlds apart from those interpretations where Bach's expressivity is left to speak for itself, tonight's approach provided a complementary carapace that navigated us through Bach's score in unexpected ways.

Angela Hewitt, Julia Schroder and Andrea Oliva play J.S. Bach at Wigmore Hall in London, finishing with The Musical Offering.

The eagerly awaited second Sydney concert in Angela Hewitt’s current Musica Viva tour began with the Chromatic Fantasia and Fugue in D minor, one of Bach’s most popular individual keyboard works. Both the improvisatory first section and the fugal section proper make extensive use of notes not found in the D minor scale, hence the description “chromatic”, meaning “coloured”.

It is a sign of the times that a celebrated Bach interpreter like Angela Hewitt should have begun her recital with a series of arrangements of Johann Sebastian’s music.

In the week when Culture Secretary Maria Miller told arts organisations across the UK to show her the money, it seems inappropriate to begin this review by commenting on the length of concert intervals – they are, after all, vital for venues to make a few pounds selling drinks to a culture-thirsty clientele.

The more you read about music, the more you notice the word “authenticity” cropping up annoyingly frequently. The great raging musical arguments of the late 20th century still burn; performers, listeners, even composers find themselves having to take up quasi-moralistic stances on gut strings, vibrato, and whether trills should begin on the upper or lower note.

Beethoven, Mozart, Angela Hewitt are all much loved names in the world of classical music. The promise of a Mozart piano concerto played by Angela Hewitt and a Beethoven symphony is enough to whet any music lover’s appetite. However, as in so many Sydney Symphony concerts, there was another work thrown in, which one could have been forgiven for glossing over in the evening’s publicity.

A lengthy standing ovation followed Thierry Fischer’s final St David’s Hall concert with the BBC National Orchestra of Wales, concluding his sixth season with Richard Strauss’ monumental Alpine Symphony after a refined performance of Mozart’s Piano Concerto no. 22 with pianist Angela Hewitt.

For Friday’s late night prom, Andrew Manze and the BBC Scottish Symphony Orchestra brought a decidedly quirky programme. The Brahms thread continued on from the early evening concert by Haitink and the Chamber Orchestra of Europe, but this was Brahms with a strong twist. The only authentic Brahms in the programme were the two Intermezzi from op.

There is something eminently civilized about dropping into London’s Wigmore Hall for a lunchtime concert. Escaping the noisy, jostling crowds of Oxford Street, one can slip into a plushy seat and enjoy an hour of quality chamber music.

Angela Hewitt y la Orquesta de Extremadura sumamente unidos bajo un atractivo, ambivalente y expresivo monográfico sobre Bach.