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Bach Performance on the Piano – An illustrated lecture
CD1
1 Chapter 1.0: Introduction [1'41]
2 Chapter 1.1: Preface [2'33]
3 Chapter 1.2: Early beginnings [2'46]
4 Chapter 1.3: Bach on the modern piano [6'02]
5 Chapter 2.0: The Essentials [1'04]
6 Chapter 2.1: Phrasing [4'00]
7 Chapter 2.2: Singing Tone [2'57]
8 Chapter 2.3: Choosing an Articulation [3'57]
9 Chapter 2.4: Imitating Bowing [10'04]
10 Chapter 2.5: Sonata No 2 in D major for gamba and harpsichord, BWV1028 (Bach). Movement 2. Andante [4'35]
with Daniel Müller-Schott (cello)
11 Chapter 2.6: Fingering [5'08]
12 Chapter 2.7: The Left Hand [1'29]
13 Chapter 2.8: Pedalling [4'08]
14 Chapter 3.0: Interpretation [2'06]
15 Chapter 3.1: Tempo [10'14]
16 Chapter 3.2: Dynamics [5'04]
17 Chapter 3.3: Rhythmic Alterations [6'31]
18 Chapter 3.4: Rubato [4'06]
19 Chapter 3.5: Keys [4'44]
20 Chapter 4.0: The Dance in Bach [1'26]
21 Chapter 4.1: Dance and the Music of J S Bach [8'17]
22 Chapter 4.2: Dance and Tempo [2'08]
23 Chapter 5.0: Learning a Fugue [4'05]
24 Chapter 5.1: Introduction [2'10]
25 Chapter 5.2: Articulation [5'06]
26 Chapter 5.3: Fingering [1'12]
27 Chapter 5.4: Interpretation [5'49]
28 Chapter 6.0: Ornamentation [3'15]
29 Chapter 6.1: Preface [2'43]
30 Chapter 6.2: Basic Rules [3'53]
31 Chapter 6.3: Adding Ornaments [7'45]
32 Chapter 7.0: Practical Advice [1'33]
33 Chapter 7.1: Editions [3'26]
34 Chapter 7.2: Practising [3'19]
35 Chapter 7.3: Memorizing [3'32]
36 Chapter 7.4: In Performance [4'15]
CD2
1 Applause [0'22]
Partita No 4 in D major, BWV828
2 Movement 1: Ouverture – [Allegro] [6'22]
3 Movement 2: Allemande [9'12]
4 Movement 3: Courante [3'42]
5 Movement 4: Aria [2'09]
6 Movement 5: Sarabande [6'03]
7 Movement 6: Menuet [1'29]
8 Movement 7: Gigue [3'51]
Italian Concerto in F major, BWV971
9 Movement 1: [untitled] [3'47]
10Movement 2: Andante [6'16]
11 Movement 3: Presto [3'27]
Chromatic Fantasia and Fugue in D minor, BWV903
12 Movement 1: Fantasia [7'42]
13 Movement 2: Fugue [5'19]
"Angela Hewitt’s comprehensive lecture to the camera is addressed to a very wide spectrum of potentially interested people, ranging from music lovers through teachers, amateur pianists, more accomplished ones who have not yet played Bach, to full professionals, even those who have played his music in public.” (International Record Review)