Works: Variations in G major on ‘See the conqu’ring hero comes’ from Handel’s Judas Maccabaeus WoO45, Cello Sonata in C major Op 102 No 1, Variations in F major on ‘Ein Mädchen oder Weibchen’ from Mozart’s Die Zauberflöte Op 66, Variations in E flat major on ‘Bei Männern, welche Liebe fühlen’ from Mozart’s Die Zauberflöte WoO46, Cello Sonata in D major Op 102 No 2
Artists: Daniel Müller-Schott cello
Angela Hewitt piano
The mercurial partnership of Angela Hewitt and Daniel Müller-Schott brought ‘overwhelming intensity and emotional
gravitas’ to a first disc of Beethoven’s cello sonatas. Here in a second volume they present two more of these groundbreaking
masterpieces, together with the composer’s homages to Mozart and Handel—works which are equally
important additions to the cello repertoire.
Hewitt’s characteristic digital dexterity and deep understanding of the classical style and Müller-Schott’s vibrant
playing combine to create performances of great energy and sensitivity that will delight their many fans.
In a fascinating booklet note, Daniel Müller-Schott explores the evolution of Beethoven’s works for cello from a
musician’s perspective, describing their revolutionary power and demonstrating the composer’s multifarious
imagination [‘Mannigfachphantastische’].
‘Daniel Müller-Schott and Angela Hewitt give Beethoven’s first three cello sonatas a nimble and colourful outing … their duo engagement is
compelling and their repertoire of gestures … is exceedingly broad … the recorded sound is beautifully balanced’ Gramophone for Volume 1 CDA67633
Works: Piano Quintet No 1 in A major Op 5 Piano Quintet No 2 in A major Op 81
Artists: Goldner String Quartet
Piers Lane piano
The performing team of Piers Lane and the Goldner String Quartet has won many plaudits for their enlightening
interpretations of the obscurer piano quintet repertoire. Now they turn to a composer who triumphed in the genre.
Dvorvák’s two piano quintets were written at different stages of the composer’s career: the first during a period of
poverty and uncertainty, the second when the composer was approaching the zenith of his international fame.
The two quintets make a fascinating pairing here. Dvorvák originally tore up his manuscript of the first; luckily the
pianist at the premiere kept a copy. It is clearly a youthful work, but there is no doubting the confidence with which Dvorvák
handles the combination of piano and strings, which
in many places anticipates the instrumentation in the famous second piano quintet.
Dvorvák’s second Piano Quintet was an immediate popular success at its first performance and has remained one of the
best-loved examples of the genre. The celebrated ‘Dumka’ movement, the lyrical heart
of the work, demonstrates the extraordinary command of melody that characterizes the composer’s symphonies.
Performances of technical polish and expressive power, sensitively recorded, combine to make this a chamber disc to
treasure.
‘A fabulous CD this, easily the best recording of Bloch’s chamber music I’ve heard in years … the Quintet’s quiet coda is rapturously beautiful and
the blending of voices between Piers Lane and the Goldners simply could not be bettered … the music is truly wonderful, the playing entirely
sympathetic and the sound perfectly balanced’ Gramophone for CDA67638
William Byrd (1539/40–1623) Infelix ego CDA 67779 CD
Works: 1 Venite, exsultemus Domino SSATBARB [3'07]
2 Domine, non sum dignus AATTTB [3'06]
3 Visita quaesumus, Domine SSAT [3'34]
4 Domine, salva nos AATTBARB [3'15]
5 Haec dies SSATTBAR [2'21]
6 Cunctis diebus SATTBARB [5'35]
Propers for The Feast of All Saints
7 Gaudeamus omnes … Sanctorum omnium introit SSATB [4'56]
8 Timete Dominum – Venite ad me gradual & alleluia SSATB [4'33]
9 Iustorum animae offertory SSATB [2'39]
bl Beati mundo corde communion SSATB [3'04]
bm Deo gratias ATTB [0'45]
bn Afflicti pro peccatis nostris ATTTBARB [4'58]
bo Cantate Domino SSATBARB [2'09]
bp Laudate Dominum, omnes gentes SSATBARB [2'45]
bq Infelix ego SATTBARB A2 [12'53]
Artists: The Cardinall’s Musick
Andrew Carwood conductor
The Cardinall’s Musick’s award-winning Byrd series reaches its final volume, which includes some of the composer’s
most sublime and adventurous music, drawn in the main from the 1591 Cantiones Sacrae collection. Throughout this
series it has become evident that a comprehensive survey such as this shows the genius of the composer in a uniquely
effective way: by demonstrating the extraordinary variety and unsurpassable quality of his musical and liturgical
achievements. Andrew Carwood defines Byrd as the greatest composer of the age in his booklet note—as he writes:
‘If there is an English musician who comes close to Shakespeare in his consummate artistry, his control over so many
genres and his ability to speak with emotional directness it must be William Byrd.’
The ‘title track’ of this volume, Infelix ego, is the crowning glory of Byrd’s achievement as a composer of spiritual
words and one of the greatest artistic statements of the sixteenth century. This remarkable text, taking the form of a
number of rhetorical statements and questions, shows the whole gamut of emotion from a soul in torment—guilt, fear,
embarrassment, anger, but crucially the gift of release when Christ’s mercy is accepted. It can be seen as a microcosm
of Byrd’s sacred music and a fitting crown to this series.
‘Some of the three-part hymns are masterly in their technical assurance, setting the voices free to wander and with the lightness of touch recalling
them to the fold for a cadence … exquisitely wrought … to the singers and their director is due an additional hymn of praise’ Gramophone on CDA67675
Works: 1 MILI BALAKIREV (1837–1910) Impromptu on the themes of two Preludes by Chopin [4'58]
2 FRANZ BENDEL (1833–1874) Hommage à Chopin Op 111 No 1 [5'33]
3 EDVARD GRIEG (1843–1907) Studie (Hommage à Chopin) No 5 of Stimmungen Op 73 [1'40]
4 FERRUCCIO BUSONI (1866–1924) Ten Variations on a Prelude of Chopin in C minor BV213a [10'49]
5 EDUARD NÁPRAVNÍK (1839–1916) Notturno (La réminiscence de Chopin) Op 48 No 1 [5'56]
6 PYOTR TCHAIKOVSKY (1840–1893) Un poco di Chopin Op 72 No 15 [3'00]
7 ARTHUR HONEGGER (1892–1955) Souvenir de Chopin [2'01]
SIR LENNOX BERKELEY (1903–1989) Three Mazurkas Op 32 No 1 [5'48] 8 Allegro [2'01] 9 Allegretto [1'51] bl Allegro [1'56]
HEITOR VILLA-LOBOS (1887–1959) Hommage à Chopin [7'03] bm Nocturne [2'55] bn Ballade [4'08]
FEDERICO MOMPOU (1893–1987) Variations sur un thème de Chopin [21'27]
bo Theme: Andantino [0'38] bp I Tranquillo [0'48] bq II Gracioso [0'47] br III Lento [1'21] bs IV Espressivo [1'30]
bt V Tempo di Mazurka [1'09] bu VI Recitativo [1'34] cl VII Allegro leggiero [0'47] cm VIII Andante dolce e espressivo [2'37]
cn IX Valse [1'55] co X Évocation [2'39] cp XI Lento dolce e legato [2'09] cq XII Galope y epílogo [1'55] cr Lento [1'28]
cs BENJAMIN GODARD (1849–1895) Hommage à Chopin No 2 of Lanterne magique Op 66 [2'00]
ct LEOPOLD GODOWSKY (1870–1938) Profil (Chopin) No 7 of Walzermasken [3'50]
cu THEODOR LESCHETIZKY (1830–1915) Hommage à Chopin No 9 of Contes de jeunesse Op 46 [4'11]
Artists: Jonathan Plowright,
piano
2010 sees the 300th anniversary of Chopin’s birth, and among the many celebratory recordings, this disc will stand out
as an historic record of the composer’s extraordinary influence and legacy.
Chopin’s unique style of piano writing was to utterly transform the way in which composers wrote for and thought
about the instrument. Few escaped some aspect of that legacy until the early years of the twentieth century; and few
pianists have not had Chopin’s music in their concert repertoire. Small wonder that so many composers and pianistcomposers—
major and minor—have felt moved to pay their respects to a musician for whom there is almost universal
approbation. A fascinating selection of hommages are represented here.
Jonathan Plowright has recently been described as ‘one of the finest living pianists; the possessor of qualities that should
no longer remain a secret’ (Gramophone). His formidable technique and musical integrity combine in a disc which is a
must for any pianophile.
‘… Plowright enhances his glowing reputation as a musical
alchemist of rare distinction with a transcendent technique’ Gramophone for CDA67630
Claude Debussy (1862–1918), Maurice Ravel (1875–1937) String Quartets
Piano Quintet CDA 67759 CD
Works: CLAUDE DEBUSSY String Quartet in G minor Op 10; MAURICE RAVEL Violin Sonata No 2 in G major; MAURICE RAVEL String Quartet in F major
Artists: Dante Quartet
Krysia Osostowicz violin, Giles Francis violin, Judith Busbridge viola, Bernard Gregor-Smith cello Krysia Osostowicz violin with Simon Crawford-Phillips piano(Violin Sonata)
The Dante Quartet continue their award-winning exploration of the French string quartet with this disc which includes
two of the greatest works of this genre.
Both quartets dazzled and disturbed at their first performances. Debussy’s fantastic, spiralling variations, resisting
orthodox ‘development’ of ideas, is described as reminiscent of Monet’s in recording the variations of light on the
façade of Rouen Cathedral. Traditionalist commentators were shocked, but the exotic beauty of the writing excited
many, including the young Ravel. Ravel’s Quartet is to some extent an hommage to Debussy, but, typically, also a work
of startling originality.
Also included is Ravel’s Violin Sonata No 2 in G major, an intriguing, jazz-influenced work, energetic but with a dark
undertow of pain; written, as Ravel said, with the aim of ‘exploring the basic incompatibility of violin and piano’.
‘This is a wonderfully played pairing of perhaps the two greatest of
all French string quartets … it is a measure of the outstanding quality of the Dante Quartet that both works are projected as vividly and immediately
as they are. There’s such a passionate involvement about their playing, such belief in the music’s outstanding qualities … it’s an outstanding disc’ The Guardian for Faure/Franck on CDA 67664
Works: Suite de Lorca; Canción de nuestro tiempo; Canticum Mariae virginis; Magnificat; Our joyful’st feast; Halavan himmeän alla (In the shade of the willow); Die erste Elegie
Artists: Schola Cantorum of Oxford
James Burton conductor
Einojuhani Rautavaara’s reputation as one of the greatest living Finnish composers is assured. Once Sibelius’s protégé,
over his long career he has achieved success in a great number of musical genres, particularly that of opera. But it is his
choral works that have made him a household name, both in his native country and internationally. Recorded here is a
fascinating selection of works, including the Suite de Lorca—one of the most popular Finnish choral works of all time—
and all demostrating the unique style forged by the composer on his travels through the musical fashions of the
twentieth century. His rich and sonorous neo-Romantic textures have a steely modernist edge and the resulting voice is
one that is deeply attractive and approachable, yet endlessly captivating. He sets texts of great passion and complexity
and does not hold back from expressing deep emotion.
Rautavaara’s music is performed by the Schola Cantorum of Oxford, described in The Times as ‘Oxford’s classy
intercollegiate choir’ and highly acclaimed for their two previous recordings for Hyperion. The choir is conducted by
James Burton.
‘The Schola Cantorum under James Burton radiates in performances that could not be bettered’ Gramophone on Thompson CDA 67679
Robert Schumann (1810–1856) String Quartet
Piano Quintet CDA 67631 CD
The Romantic Piano Concerto
Volume 49 Wilhelm Stenhammar (1871–1927)
Works: String Quartet in A major Op 41 No 3 Piano Quintet in E flat major Op 44
Artists: Takács Quartet:
Edward Dusinberre, violin I
Károly Schranz, violin II
Geraldine Walther, viola
András Fejér, cello
Marc-André Hamelin, piano
The peerless Takács Quartet, recently nominated for a Gramophone award for their second disc of Brahms’s string
quartets, continue their fêted exploration of the Romantic chamber music tradition with this disc of Schumann.
The Piano Quintet in E flat major is by far Schumann’s most popular chamber work and one of the most beloved works
in the genre. Schumann was the first romantic composer to pair the piano with the string quartet. It was written during
the composer’s ‘chamber music year’ (1842) when, ‘in the first happiness of reunion with the piano, his creative
imagination took on a new lease of life’ (Joan Chisell, Robert Schumann). Schumann had been studying the string
quartets of Beethoven, Mozart and Haydn, and the String Quartet in A major Op 41 No 3 demonstrates these influences,
but is written in a characteristic musical language and contains many highly original strokes, particularly the casting of
the Scherzo as a set of variations.
The Takács Quartet are joined by Marc-André Hamelin in an invigorating partnership that has already been widely
acclaimed on the concert platform.
'Oustanding musicianship and virtuosity abound on this stunning disc … The sense is of true chamber interplay between five equals … The Hyperion sound is more spacious … and once again the Takács revel in the classical logic of Schumann's vision … That this disc simply gets better and better on repeated listening is ample recommendation' Gramophone
Works: Piano Concerto No 1 in B flat minor Op 1 (original version) Piano Concerto No 2 in D minor Op 23
Artists: Seta Tanyel, piano
Helsingborg Symphony Orchestra
Andrew Manze, conductor
Welcome to a genuinely outstanding disc in the Romantic Piano Concerto series. Sometimes the works found along the
unfrequented byways of the Romantic piano tradition can exhibit no more than surface brilliance, but that cannot be
said of these two splendid concertos by Stenhammar, recorded for the first time together on one CD.
The original orchestration of Stenhammar’s Piano Concerto No 1 was long thought
lost when the publishers were bombed during the second world war – a copy of the original was discovered in the
Library of Congress in 1983. The twenty-two year old’s Opus 1 is a masterpiece, majestic and virtuosic at its opening;
bringing the listener into a world of Nordic mystery at the start of the third movement; the finale ending with music of
sad, reflective sweetness. The second concerto is a distinctly different work, with a novel, some have said ‘improvised’,
structure, and a sense of tension between soloist and orchestra which is only resolved in the glorious virtuosic finale.
Hyperion is delighted to present the distinguished musician Andrew Manze in his new incarnation as a conductor.
Directing the Helsingborg Symphony Orchestra, he is truly a force to be reckoned with. Pianist Seta Tanyel has featured
on previous RPC recordings, always gaining the highest critical acclaim; however her magnificent playing on this new
disc transcends her previous achievements.
'Stenhammar's concertos embrace traditional concerto forms with flair and lyricism … charm, virtuosity, melodiousness and drama. Tanyel's fiery vigour is fabulous and the orchestra plays ample tribute to its fellow countryman under the impressive baton of Briton Andrew Manze' Classic FM Magazine
Joseph Haydn (1732–1809) Piano Trios Volume 2 CDA 67757 CD
Muzio Clementi (1752–1832) The Complete Piano Sonatas
Volume 4
Works: Piano Trio in E major Hob XV:28 [15'29]:
1 Allegro moderato [7'25] 2 Allegretto [3'16] 3 Finale: Allegro [4'46]
Piano Trio in E flat major Hob XV:29 [15'32]:
4 Poco allegretto [7'19] 5 Andantino ed innocentemente [2'37] 6 Finale: Presto assai [5'35]
Piano Trio in E flat major Hob XV:30 [16'21]:
7 Allegro moderato [8'45] 8 Andante con moto [4'21] 9 Presto [3'13]
Piano Trio in E flat minor Hob XV:31 [12'17]:
bl Andante [8'46] bm Allegro (‘Jacob’s Dream’) [3'30]
Artists: The Florestan Trio:
Susan Tomes piano
Anthony Marwood violin
Richard Lester cello
Haydn’s ‘piano trios’ (as his accompanied piano sonatas are known) are among the most delightful and inventive of
all his works. They have a ‘domestic’ reputation, and indeed they were intended for playing at home. But we make a
mistake if we think that this meant that Haydn expected music-making of limited accomplishment. Many outstanding
musicians of the eighteenth and early nineteenth centuries never performed in public for one simple reason: they were
women. Who knows how many gifted women musicians were denied opportunities that their male counterparts
enjoyed. But when it comes to pianists, we can at least get some idea of their talents from the music that was written for
them.
Among the women pianists whom Haydn met while he was in London in the 1790s, one of the most highly-regarded
was Therese Jansen, a pupil of Clementi. Haydn named her as among the capital’s most important pianists. Haydn
wrote for her a set of three piano trios which were published in London in 1797—Hob XV:28 and 29 on this disc, and
No 27 in C major (on Hyperion CDA67719). The challenging piano parts suggests that she must have been a very fine
performer—and indeed the string-writing is no less demanding. They are not only virtuoso works, but have an
exceptionally wide range of expression.
The Florestan Trio, with their magnificent pianist Susan Tomes, dazzle in this repertoire. Their first disc of Haydn’s
piano trios was enthusiastically acclaimed (see below) and this release is sure to follow its critical and commercial
success.
'Tomes and her partners identify themselves fully with the emotional scale of the works … there is so
much from the Florestan to stop us in our tracks … a very special disc, recorded in detailed, front-row sound’ Gramophone(HAYDN Piano Trios Volume 1 CDA67719)
Works: COMPACT DISC 1 [71'09]
Sonata in C major Op 25 No 1 [14'32] 1 Allegro di molto [6'44] 2 Adagio [4'27] 3 Rondeau: Presto [3'21]
Sonata in G major Op 25 No 2 [8'36] 4 Allegro con brio [5'18] 5 Rondo un poco allegro [3'18]
Sonata in B flat major Op 25 No 3 [9'31] 6 Allegro [5'30] 7 Rondo: Vivace [4'01]
Sonata in A major Op 25 No 4 [14'01] 8 Maestoso e cantabile [9'41] 9 Molto allegro [4'20]
Sonata in F sharp minor Op 25 No 5 [12'48] bl Più tosto allegro con espressione [5'18] bm Lento e patetico [3'32] bn Presto [3'58]
Sonata in D major Op 25 No 6 [10'57] bo Presto [4'29] bp Un poco andante [2'47] bq Rondo: Allegro assai [3'41]
COMPACT DISC 2 [65'15]
Sonata in F major Op 26 [9'40] 1 Allegro [5'40] 2 Rondeau: Allegretto [4'00]
Sonata in A major Op 33 No 1 [8'58] 3 Allegro [5'44] 4 Presto [3'14]
Sonata in F major Op 33 No 2 [10'35] 5 Adagio – Allegro con fuoco [7'10] 6 Presto [3'25]
Sonata in C major Op 33 No 3 [18'12] 7 Allegro con spirito [8'40] 8 Adagio e cantabile con grand’ espressione [4'25] 9 Presto [5'07]
Sonata in E flat major Op 41 [17'15] bl Allegro ma con grazia [6'36] bm Adagio molto e con anima [4'59] bn Allegro molto vivace [5'40]
Artists: Howard Shelley piano
Tasmanian Symphony Orchestra
Sir
Howard Shelley’s splendid series of Clementi’s complete piano sonatas continues with a fourth volume containing some
of the composer’s most important works. The ten sonatas of Opp 25, 26, and 33 that Shelley performs in this recording
are all products of a period in Clementi’s life when he was the darling of the London music scene, acclaimed by
contemporaries in the most effusive language: ‘But the performance beyond all others to astonish, was Clementi’s
concerto on the Piano Forte: what brilliancy of finger, and wonderful execution! The powers of the instrument were
never called forth with superior skill, perhaps not equal’.
As well as the elements of virtuosity described above, the works recorded here—particularly the fourth and fifth of the
Opp 25 sonatas—contain a high degree of compositional originality and forward-looking piano writing. The A major
sonata (No 4) has a curiously nineteenth-century sound. The first movement, Maestoso e cantabile, displays a profusion
of melodic ornament reminiscent of Chopin. The fifth, perhaps Clementi’s greatest sonata, was much championed by
Horowitz, among others.
‘The third volume of Howard Shelley’s invaluable survey of Clementi piano sonatas confirms every expectation. Once more you are left to marvel at
his unfailing brilliance and musicianship, qualities that can lift and enliven even the most predictable and mechanical gestures … every fingertwisting
challenge is met with effortless ease, energy and grace, and Hyperion’s sound is, as usual, of demonstration quality’ Gramophone for Vol 3
George Frideric Handel (1685–1759)
Joseph Haydn (1732–1809) Angela Hewitt plays
Handel & Haydn CDA 67736 CD
Romantic Piano Concerto Volume 48 Sir Julius Benedict (1804–1885)
Walter Macfarren (1826–1905)
Works: GEORGE FRIDERIC HANDEL (1685–1759)
1 Chaconne (with 21 variations) in G major HWV435 [7'28]
Suite No 2 in F major HWV427 [10'08]
2 Adagio [3'08] 3 Allegro [2'27] 4 Adagio [2'15] 5 Allegro: Fugue [2'16]
Suite No 8 in F minor HWV433 [12'55]
6 Prelude: Adagio [2'40] 7 Fugue: Allegro [2'44] 8 Allemande [2'56] 9 Courante [2'01] bl Gigue [2'33]
JOSEPH HAYDN (1732–1809)
bm Sonata ‘Un piccolo divertimento’ (Variations in F minor) HOB XVII:6 [16'39]
Piano Sonata in E flat major HOB XVI:52 [20'15]
bn Allegro moderato [7'59] bo Adagio [6'22] bp Finale: Presto [5'52]
Artists: Angela Hewitt piano
Recorded and released in the ‘anniversary year’ of both Handel and Haydn, Hyperion’s Record of the Month is an
effusive celebration of the two composers, performed by an artist whose renditions of 17th- and 18th-century keyboard
works on the piano have received the highest possible acclaim. This recital is a welcome gesture from the ‘high priestess
of Bach’ (Sunday Times). As you will hear, Hewitt’s trademark clarity of line, singing tone and instinctive musicality are
perfectly suited to the urbane elegance of the works recorded here.
In a fascinating and personal booklet note, Angela Hewitt takes the listener through her own childhood experiences of
the works of Handel and Haydn that led her to select the works for this disc, and includes an interesting discussion of
historical performance practice. This is an enchanting release that will delight Angela’s legion of fans.
'Everything emerges with an impressive combination of clarity and vitality...and Hewitt's favoured Fazioli instrument has been recorded with superb fidelity' International Record Review
Works: SIR JULIUS BENEDICT Piano Concerto in C minor Op 45 (1850) [26'18]
SIR JULIUS BENEDICT Piano Concerto in E flat major Op 89 (1837 / 1867) [32'59]
WALTER MACFARREN Concertstück in E minor (1881) [11'36]
Artists: Howard Shelley piano / conductor
Tasmanian Symphony Orchestra
Sir
Julius Benedict has been all but forgotten today but he is yet another composer who gives the lie to the idea that Britain
was ‘a land without music’ in the nineteenth century. Though born in Germany, Benedict settled in London in 1835,
having already established a career as composer and pianist on the continent. He arrived in a city which had been the
pianistic centre of Europe for the previous thirty years (though that role was shortly thereafter lost to Paris and the new
generation of Romantic composers we remember today) and was soon performing his two concertinos in A flat and E
flat, the latter work later being expanded into the E flat concerto recorded here. The C minor concerto was to follow in
1850. Both works are very much in the tradition of Hummel, of whom Benedict was a pupil, and combine brilliant
virtuosity with an easy lyricism.
The even-more-forgotten Walter Macfarren was the brother of better-known George, an early Principal of the Royal
Academy of Music. Walter was for many years a piano professor there, his pupils including Matthay and Henry Wood.
His music is very much in the style of Mendelssohn and his Concertstück proves to be a very attractive work which
could easily pass as one by the greater master.
The brilliant Howard Shelley and his exuberant and stylish Australian players present these works in a recording that
will surely achieve the same level of critical acclaim as their previous RPC releases:
‘Once more, one has to take off one’s hat to Howard Shelley for leading such exuberant performances while simultaneously tackling demanding
keyboard writing with amazing agility, innate elegance and complete stylistic empathy’ Gramophone for Vol 45
‘One of the more successful of Hyperion’s prodigal disinterments of
Romantic Piano Concertos. We have learnt from Howard Shelley’s previous contributions to the series to expect brilliant and stylish playing, and he does not disappoint here. He also give full value to the lyrical elements’ (BBC Music Magazine) for Vol 45
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