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Track(s) taken from CDA67598

Piano Sonata in B flat major, K333

composer
1783; Linz

Stephen Hough (piano)
Recording details: November 2006
St George's, Brandon Hill, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: March 2008
Total duration: 19 minutes 57 seconds

Cover artwork: Garden of Eden (oil on linen) by Anthony Mastromatteo (b?)
Reproduced by kind permission of the artist / Private Collection
 
1
Allegro  [7'20]
2
3

Other recordings available for download

Wanda Landowska (piano)

Reviews

'There are all too few pianists with the equivalent of Hough's three Michelin stars … opening with two of Mozart's solo masterpieces, the ear is welcomed into an intimate, pellucid sound world with a sophistcated grading of dynamics … [Liszt-Busoni Fantasy on Non piu andrai] provides a hair-raising bravura display that deserves to be heard more often. At least, when played like this' (Gramophone)

'A bold and dramatic account of Mozart's K475 C minor Fantasia opens this memorable and imaginatively devised recital. While emphasising the prophetically romantic nature of the music, Stephen Hough takes great care not to overplay its more forceful passages … the final party piece, the Liszt/Busoni Fantasia on themes from The Marriage of Figaro, is a sure-fire crowd-pleaser given an exhilharating performance guaranteed to bring the house down' (BBC Music Magazine)

'A scintillating exploration of Mozartian style in tribute works by other composers. Easily the most attractive is by Stephen Hough himself, who takes three small pieces and reinvents them in the style of Poulenc. The result is a seductive, spicy and totally original addition to the genre, and a nice counterweight to the Liszt-Busoni Figaro fantasia, which the prodigiously talented Hough plays with his trademark intensity' (The Observer)

'We look forward to Hough's recordings. They are never disappointing, and this one is a classic. With excellent engineering and Harriet Smith's very informative notes, only those who do not value great pianism can afford to miss it' (American Record Guide)

'Hyperion's imaginative new collection shows this protean artist to be equally at home in the Classical repertoire. Not surprisingly, he offers romantic and highly pianistic Mozart … the result is a trio of performances of splendid variety … the recital ends rousingly with Liszt's Figaro Fantasia. Compared to the other post-Mozartian rarities, of course, this is standard fare—but it sounds freshly minted in this improvisatory reading … notable for his revelatory inner-line clarity even in the most congested textures and for his ability to reveal the underlying gestures in passages, that, even in Gilels' hands, emerge as a mere blur of notes. Excellent Hyperion sound and useful notes by Harriet Smith only add to the virtues of this first-rate release' (International Record Review)

'In a typically well-made progamme, the compelling British pianist springboards of Mozart into a series of tributes. The virtuoisic challenges are handled with liquid clarity and intelligent expression. Mesmerising in the Mozart, the transition to a more modern take comes surprisingly fluently' (The Times)

'Here's another winning, imaginatively conceived disc from Britain's finest pianist … it is unexpected and delightful programme-building. Prized for his pianism, Hough is also a superb Mozartian. He lends these Fantasias an almost Beethovenian weight and depth of expression … Hough's playing is dazzling throughout' (The Sunday Times)

'A new record from Stephen Hough is always something to look foward to, and A Mozart Album is no exception … altogether an outsanding disc released by Hyperion' (Liverpool Daily Post)

'Hough's Mozart playing is so fresh, so sensitive to the harmonic twists and the way the prase can simultaneously suggest different feelings … this 2006 Keener and Eadon production from St George's, Bristol, is impeccably presented, with a congenial note by Harriet Smith' (International Piano)

'In this deft tribute to Mozart's genius, splendid pianist Stephen Hough leads with a pair of the composer's own works before segueing into transcriptions, homages and his own Poulenc-inflected 'transformations'. Hough is incapable of an unengaging performance, as he demonstrates right off with an account of the Fantasia in C minor, K475 that pulls back from stormy drama for something more tactfully measured and delicate. An unfinished Liszt fantasia on 'The Marriage of Figaro' music, amended by Busoni, gets a wittily theatrical treatment' (San Francisco Chronicle)

'Stephen Hough generally does not disappoint in terms of programming … [his]Mozart is exemplary, with the Fantasias approached with a free sense of tempo and a careful attention to the dynamic contrasts and articulations in the score … the pendant piece is the Liszt-Busoni fantasia on themes from Marriage of Figaro, in which Hough displays his considerable technical wizardry and whimsical attention to details' (IonArts.com)

'[Hough] is certainly one of today's most thoughtful and thought-provoking pianists, as his latest thematic Hyperion set underscores … playing with a mix of depth and detail that only the best pianists achieve … he connects kindred spirits in a witty, lovely way' (The Star-Ledger, USA)
Mozart wrote his Piano Sonata in B flat major, K333 in 1783 in Linz, where he and Constanze were staying on their way from Salzburg to Vienna. Superficially it might seem less groundbreaking than the fantasias, with its sunnier key, lighter textures and a plethora of irresistible melodies. But all is not as it might at first appear. The alluring opening, with its gently yearning appoggiaturas, gives way to a more dramatic second theme which creates tension through the interval of a seventh. This idea of a lyrical theme followed by a more extrovert one turns conventional sonata form on its head.

This is a work that seems to increase in scope as it unfolds, and once again memories of the opera house are never far below the surface, with an agitated minor-mode development section, where syncopated right-hand writing is set against restless semiquavers in the left hand, while the composer exploits the contrast of registers to the full. The recapitulation relaxes into the graceful opening theme, and the movement ends in a mood of benign serenity. The Andante cantabile unfolds at an unhurried pace, balancing tenderness with a certain solemnity. By contrast, the high-kicking finale takes off in a quite different direction. It is a concerto allegro in all but name, with clearly defined passages of solo and tutti writing, accents, dramatic silences and terse phrasing all adding spice. Even brief excursions into the minor can’t displace its ebullience for long, and Mozart adds a full-blown cadenza for good measure, in which major and minor battle it out beneath a soaring, trilling operatic line. Light triumphs over darkness as the opening theme is recalled, heralding a simple but emphatic ending.

from notes by Harriet Smith © 2008

Mozart écrivit sa Sonate pour piano en si bémol majeur, K333 en 1783 à Linz, où Constanze et lui séjournèrent alors qu’ils se rendaient de Salzbourg à Vienne. Sa tonalité radieuse, ses textures légères et sa pléthore de mélodies irrésistibles pourraient la faire paraître moins pionnière que les fantaisies. Mais tout n’est pas comme on pourrait le croire de prime abord et l’ouverture séduisante, aux appoggiatures doucement soupirantes, cède la place à un second thème plus dramatique, qui génère de la tension via l’intervalle d’une septième. Cette idée de faire suivre un thème lyrique d’un autre plus extraverti bouleverse la forme sonate conventionnelle.

Voilà une œuvre qui semble gagner en envergure à mesure qu’elle se déploie et, là encore, les souvenirs de l’opéra ne sont jamais bien loin, avec une section de développement agitée en mode mineur, où une écriture syncopée de la main droite est posée contre d’incessantes doubles croches à la main gauche, tandis que le contraste des registres est exploité au maximum. La réexposition se relâche dans le gracieux thème d’ouverture et le mouvement s’achève dans une douce sérénité. L’Andante cantabile s’épanouit en toute tranquillité, balançant la tendresse par une certaine solennité. Par contraste, le finale pétulant prend une tout autre direction. Ce n’est pas un allegro de concerto, mais c’est tout comme, avec des passages de solo et de tutti clairement définis, des accents, des silences dramatiques et un phrasé laconique mettant un peu de sel. Même les brèves incursions en mineur ne peuvent supplanter longtemps son bouillonnement; puis, pendant qu’il y est, Mozart ajoute une cadenza complète, dans laquelle majeur et mineur bataillent sous une ligne opératique qui file et trille. La lumière triomphe des ténèbres lorsque le thème d’ouverture est rappelé, annonçant une conclusion simple mais appuyée.

extrait des notes rédigées par Harriet Smith © 2008
Français: Hypérion

Mozart schrieb seine Klaviersonate in B-Dur, K333 1783 in Linz, wo er und Constanze sich auf ihrem Weg von Salzburg nach Wien aufhielten. Oberflächlich gesehen scheint sie weniger bahnbrechend als die Fantasien mit ihrer sonnigeren Tonart, lichterem Gewebe und einer Fülle unwiderstehlicher Melodien. Aber alles ist nicht so, wie es zuerst erscheint. Der verführerische Anfang mit seinen sanft schmachtenden Vorschlägen weicht einem dramatischeren zweiten Thema, das durch das Intervall einer Septime Spannung erzeugt. Durch diese Idee eines lyrischen Themas, dem ein extrovertierteres folgt, wird die konventionelle Sonatenform auf den Kopf gestellt.

Dies ist ein Werk, das sich in seinem Verlauf immer weiter zu entfalten scheint, und wiederum liegen die Erinnerungen an die Oper nie weit unter der Oberfläche, mit einer aufgeregten Moll-Durchführung, wo synkopierte Schreibweise für die rechte Hand rastlosen Sechzehnteln in der linken entgegengesetzt sind, während der Komponist den Registerkontrast voll ausnutzt. Die Reprise löst sich in das grazile Anfangsthema auf, und der Satz schließt in heiterem Wohlmut. Das Andante cantabile entfaltet sich in gemütlichem Tempo, und Zartheit und eine gewisse Feierlichkeit halten sich im Gleichgewicht. Das übermütige Finale geht in eine ganz andere Richtung. Es ist praktisch ein Konzert-Allegro mit genau definierten Passagen von Solo und Tutti, denen Akzente, dramatisches Schweigen und straffe Phrasierung Würze geben. Selbst kurze Ausflüge nach Moll können diesen Übermut nicht lange verdrängen, und um das Maß voll zu machen, fügt Mozart noch eine ausgewachsene Kadenz ein, in der Dur und Moll unter einer hochfliegenden, trillernden, opernhaften Melodie fechten. Licht triumphiert über Dunkelheit, wenn das einleitende Thema zurückkehrt und einen schlichten, emphatischen Schluss ankündigt.

aus dem Begleittext von Harriet Smith © 2008
Deutsch: Renate Wendel

Other albums featuring this work

Wanda Landowska – The complete piano recordings
APR7305Download only
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