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Angela Hewitt Piano Recital

City Hall

One night only

The performance of Bach's Goldberg Variations by Canadian pianist Angela Hewitt last night may well become the most memorable classical music event in Hong Kong this year.

Bach's masterpiece begins and ends with the same aria - the  alpha and omega of a magnificent musical universe - between which 30 variations of joy, grief, glory, comedy and tragedy follow in contrapuntal writing.

Hewitt's touch was soft,  assured and agile, expressing a clarity and eloquence that only top-class pianists can  emulate.

Her rendering  was always  unfussy and free of false sentiment.

In Variation No 25, her brisk  articulation of the sparse melody evoked  desolation and a profound questioning.

Her lean figure, graceful arm movements and velvety, bright-red gown all lent visual support to her stylish interpretation.

The Goldberg was played in the second half of the concert; it  began with four of Messiaen's  8 Preludes (No 1, 3, 7 and 8) - an early work revealing strong influence from Debussy - followed by Ravel's La Tombeau de Couperin.

Hewitt's touch remained clear and agile in these works, and her treatment of the harmonic texture was always precise and uncluttered.

However, although she had a good grasp of the young Messiaen's ingenious rhythms and harmonies, she could not convey fully the Debussy-inspired subtlety and sensuality.

She tended to Ravel's clocking rhythm with an accuracy that did not become mechanical, but the inspiration and whimsicality of past masters such as Robert  Casadesus was not to be heard.



Canadian pianist sets masterful standard