Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.
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As a trumpet player, Freeman-Attwood has attracted critical acclaim from the press for his solo recordings, most notably in a series for Linn which explores how the trumpet may be retrospectively ‘re-imagined’ within established traditions of mainstream solo and chamber music. The first of these, with John Wallace, titled The Trumpets That Time Forgot, heralded a flurry of transcriptions for trumpet and piano with Daniel-Ben Pienaar, including a virtuosic arrangement of Fauré’s Violin Sonata, Op 108 (La Trompette Retrouvée) and a recording of seventeenth-century instrumental and vocal arrangements (Trumpet Masque), which won High Fidelity’s Recording of the Year (2008) and was praised for its ‘extraordinary playing, switching between fizzy fireworks and tender pathos with ease’ (The Observer). Sonatas by Edvard Grieg, Felix Mendelssohn and Robert Schumann (Romantic Trumpet Sonatas) and an innovative recital of works by eleven members of the Bach family (A Bach Notebook for Trumpet) were released in 2011 and 2013 respectively. Freeman-Attwood also plans to release, with Pienaar, a major new re-working of Stravinsky’s Pulcinella (by kind permission of Boosey and Hawkes) alongside other Neo-Classical pieces.
Freeman-Attwood has produced well over two-hundred commercial recordings for many of the world’s leading independent labels including Naxos, BIS, Chandos, Hyperion, Harmonia Mundi USA, Channel Classics and AVIE. Several of his productions have won major awards, including Diapasons d’Or, eight Gramophone Awards and numerous nominations over the last twenty years with artists such as Rachel Podger, the Cardinall’s Musick, Trevor Pinnock, Phantasm, I Fagiolini, The Orchestra of the Age of Enlightenment, Daniel-Ben Pienaar and various leading cathedral choirs. He produced Gramophone’s ‘Record of the Year’ in 2010 – the final volume of William Byrd’s Latin Church Music for Hyperion. In 1997, he founded the in-house label of the Royal Academy of Music as a means of introducing talented young artists to the creative challenges of the studio.
An educator and scholar, he continues to be active as a lecturer, critic and contributor to journals and books, including The New Grove (2nd edition), The Cambridge Companion to Recorded Music and to BBC Radio 3. He is an established authority on Bach interpretation, particularly as it challenges and refocuses historical perspectives on performance practices, and writes essays regularly for EMI, Warner, Deutsche Grammophon, Universal and other major record labels.
In July 2008, Freeman-Attwood became the fourteenth Principal of the Royal Academy of Music, founded in 1822. He was appointed a Fellow of King’s College London in 2009, a Trustee of the University of London in 2010 and a Fellow of the Royal Northern College of Music in 2013. He is also a Trustee and Chair of the Artistic Advisory Committee of Garsington Opera, a Trustee of the Young Classical Artists’ Trust (YCAT), the Associated Board of the Royal Schools of Music (ABRSM) and the Countess of Munster Trust.