Angela Hewitt, Central Hall, Darlington 

THERE was such a buzz of excitement and anticipation in Central Hall when more than 300 people gathered for this recital, presented jointly by Darlington Piano and Music societies.

As previously reported here, it was in memory of David Robson, music reviewer for this newspaper and The Northern Echo and a prime mover in programming concerts not only in Darlington but across the North-East and Cumbria.

It was in this role that he was able to help Angela Hewitt who gave a number of concerts and master classes across the region before her international career took off and who now generously offered to give this performance in his memory.

Speaking to the audience just before the recital, Miss Hewitt affectionately described Mr Robson as a warm and caring person, one who not only knew his music but loved it.

Her programme consisted of two Beethoven sonatas and some carefully selected Bach pieces.
Opening with Bach’s Partita No. 5 in G major, one was immediately drawn completely into the music which, as Miss Hewitt put it in her own programme notes, was full of grace, agility and lightness of touch.

Both Beethoven sonatas, Op. 81a, Les Adieux and Op. 110, provided fine examples of Miss Hewitt’s ability to convey a story without words, reaching a peak in the latter’s final, masterful Adagio and Fugue.

However, it was a sequence of arrangements for piano of Bach’s pieces which proved to be the most touching and effective.

A Siciliano from the Flute Sonata, Sheep May Safely Graze and the chorale Alle Menschen müssen sterben were, respectively, gentle, familiar and reflective and then positive before the final brilliant and ecstatic Chromatic Fantasia and Fugue in D minor.

Reviewing one of her performances at Darlington Arts Centre 15 years ago, David Robson said: “Few pianists equal her in Bach, but none surpass in her ability to hold an audience enthralled”, a description which was just as valid now as it was then.

Peter Bevan