Maverick Chamber Music Festival

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Reserved Hall Seats: $60.00, $30.00, $27.50 (partial obstruction)
General Admission/Outdoors/Uncovered: $25.00, Students: $20

Maverick Debut

Winner of the City of Leipzig Bach Medal, the Wigmore Hall Gold Medal and a Companion of the Order of Canada, the British-Canadian pianist Angela Hewitt is one of the foremost J.S. Bach interpreters of our time. Here in her Maverick Concerts debut, Angela Hewitt performs a scintillating all-Bach program on what promises to be a memorable Saturday evening recital, recalling her series of recordings of all the composer’s major piano works for the Hyperion label termed “one of the record glories of our age” (The London Sunday Times):

J.S. Bach:
Toccata in C Minor, BWV 911
French Suite No.5 in G Major, BWV 816
Italian Concerto, BWV 971
Partita No.6 in E Minor, BWV 830
Chromatic Fantasy and Fugue, BWV 903

One of the world’s leading concert pianists, Angela Hewitt appears in recital and as soloist with major orchestras throughout Europe, the Americas, Australia, and Asia. Her interpretations of the music of J.S. Bach have established her as one of the composer’s foremost interpreters of our time.

Born in 1958 into a musical family (the daughter of the Cathedral organist and choirmaster in Ottawa, Canada), Angela began her piano studies age three, performed in public at four and a year later won her first scholarship. In her formative years, she also studied classical ballet, violin, and recorder. From 1963-73 she studied at Toronto’s Royal Conservatory of Music with Earle Moss and Myrtle Guerrero, after which she completed her Bachelor of Music in Performance at the University of Ottawa in the class of French pianist Jean-Paul Sévilla, graduating at the age of 18. She was a prizewinner in numerous piano competitions in Europe, Canada, and the USA, but it was her triumph in the 1985 Toronto International Bach Piano Competition, held in memory of Glenn Gould, that truly launched her international career.

Conducting concertos of Bach, Mozart, and Beethoven from the piano, Angela has led the Toronto Symphony, the Hong Kong Philharmonic, the Copenhagen Philharmonic, the Lucerne Festival Strings, the Kammerorchester Basel, the Vancouver Symphony, the Stuttgart Chamber Orchestra, the Britten Sinfonia, the Swedish Chamber Orchestra, the Zurich Chamber Orchestra, the Salzburg Camerata, the orchestra of RAI Torino, the Orchestra Ensemble Kanazawa in Japan, and in 2019 made her debut playing and conducting Bach with the Vienna Tonkünstler Orchestra in Vienna’s Musikverein.

Along with performing a vast amount of the standard repertoire, Angela has also commissioned new works including two piano concertos: the Second Piano Concerto of Dominic Muldowney (premiered with the BBC Symphony in 2002); and in 2017 “Nameless Seas” by Canadian-Finnish composer Matthew Whittall (with the National Arts Centre Orchestra). Canadian composers such as Oskar Morawetz, Steven Gellman, Gary Kulesha, David McIntyre, and Patrick Cardy also wrote pieces dedicated to her. In 2010 she commissioned seven composers from around the world to write short pieces inspired by Bach which were published in a collection (along with several of her own Bach transcriptions) entitled “Angela Hewitt’s Bach Book”. In February 2022 she was presented with The Oskar Morawetz Award for Excellence in Music Performance by the Ontario Arts Council.

“What draws the listener to Angela Hewitt… has to do with contact. Most piano performances arrive in translation: the inner musician making a decision, then issuing a command that makes its way through the body onto the keyboard and into the ear. The process alters the results. Ms. Hewitt is one of those rare musicians who seem to get something into their heads and hearts and find it at their fingertips instantaneously. To fuel this leap must require a fund of psychic energy beyond the average capacity. Good musicians are good athletes, not in the muscular sense but in the staying power of their imaginations. This pianist’s resolve to imbue every musical moment with an unrelenting sense of theater would exhaust most of us in 10 minutes.”

Bernard Holland in The New York Times, February 2007

This event is sponsored in part with support from Lawrence Posner.

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