BY STEPHANIE ESLAKE
Quite simply, Angela Hewitt is a Bach expert.
The Canadian pianist has dedicated two decades of her life to recording the keyboard works of Bach, and has shared the beauty of his music in concerts across the globe.
Her father, an organist, also performed Bach’s works in his day. Angela first hit the keys when she was three, made her public performance debut at four, and by five she won a music scholarship. Now she passes her knowledge on through her work as an ambassador for Orkidstra – a program teaching children valuable skills through music education.
The 2006 Gramophone Awards Artist of the Year, and 2015 Companion of the Order of Canada, chats with us about why she holds Bach dearly in her heart. She is touring as part of Musica Viva and will perform at the Federation Concert Hall in Tasmania this week.
Angela, let’s talk Bach! You’re touring the world with the composer’s works. When did you first form a personal connection to this music?
Probably before I was born I heard Bach’s music. My father was the cathedral organist in Ottawa, Canada, and played all those wonderful Bach organ works marvellously. So I grew up hearing his music, and of course playing it myself. It always appealed to me, and I had the best teachers for it. I also sang Bach, played it on the violin, danced to Bach…
What draws you to his keyboard works?
First of all, it is the best music for learning how to play a keyboard instrument. There is no greater music for teaching you technique and everything you need to know about phrasing, articulation, how to produce a beautiful tone, tempo, dance rhythms…so many basic things. Plus, besides being simply incredibly beautiful, it expresses great joy – largely through his use of dance rhythms. I love how he can take a fugue subject and work up a great composition on just a few notes — the excitement and drama of it all!
How have you found your own interpretation and performance of Bach’s differs to your father’s?
I certainly learned the basics from him and also, I must say, from my mother who was also a great musician. When my mother had taught me a piece thoroughly, then I would play it for my father to get the final touches! I think he instilled in me a good sense of timing, of pacing, of architecture — where the music is going — of musical line, and of colour. Also, how you must pay great attention to detail and the fingering. And perhaps most of all, how to make the music sing.
In 20 years, you’ve recorded all Bach keyboard works. What have you learnt through this experience about Bach – and about yourself?
I recorded all the keyboard works, with the exception of the Art of Fugue, in the space of 11 years. Then later added that monumental work, which was a good decision because it’s so complex. My whole career has been shaped by it in a way, though I have never limited myself only to Bach. That would be a shame. But this wonderful grounding, and all the time I have spent in Bach’s company, has given me a certain way of approaching other composers like Beethoven who grew up on Bach’s music. It gives you a great awareness of voicing, of harmony, of clarity, of looking in the music for clues – because Bach wrote very little in the score other than the notes.
Bach’s music also has great depth and provides comfort to not only those who play it but those who listen to it. So it has always been a source of solace to me and given me great strength — which goodness knows one needs to be a concert pianist.
What advice would you give to young musicians who are attempting Bach in the early stages of their careers?
Practise it thoroughly with an intelligent fingering. Memorise your fingering. Do it hands separately, and slowly. I could talk for two and a half hours on the subject (as I have on my DVD….)! Take each voice in turn in a fugue, and mark in the breathing points and articulation. Make it sing and dance! It needs to come alive!
In Hobart, you’ll be presenting Bach alongside works by Scarlatti, Ravel, and Chabrier. How do you decide what music is paired well with Bach?
Scarlatti and Bach were born in the same year, 1685, though they inhabited completely different worlds. It’s fascinating in recital to hear the difference between the two. They were both great keyboard players, and this is evident when hearing their music. Scarlatti is the more overtly theatrical, and the Latin temperament shines through in every note. Ravel adored Scarlatti and always had a volume of his sonatas on his piano. Chabrier was a huge influence on Ravel, and is one of the most undeservingly neglected composers around. I love his music which is full of joie de vivre. This program is a very enjoyable one, which shows many different styles and ways of playing the piano. So I hope the audience will enjoy it!
After all of your experiences, what is your favourite Bach composition and why?
His Goldberg Variations, which I played recently in Vienna for my solo debut there. It is simply the most moving piece of music around. Eighty minutes non-stop, and every note of it is full of wonder. In a good performance, it can be like a spiritual experience to hear it live. I’ve played it for over 40 years, but never tire of performing it. I think it gives us the sense of completeness that we seek — with the theme, the 30 variations, and then the return to the theme, as though it comes from another, better world.
See Angela Hewitt in recital at the Federation Concert Hall this 13 May More information on the Tasmanian Symphony Orchestra website. Performance presented with Musica Viva Tasmania. Angela will also tour to Melbourne, Newcastle, Perth, Adelaide and Sydney until 27 May – more information on the Musica Viva website.
Image supplied. Credit: Keith Saunders.
