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Track(s) taken from CDA67598

Fantasia in C minor, K396 K385f

composer
1782; incomplete
composer
completion

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: 9 minutes 24 seconds

Cover artwork: Garden of Eden (oil on linen) by Anthony Mastromatteo (b?)
Reproduced by kind permission of the artist / Private Collection
 

Other recordings available for download

Gottlieb Wallisch (piano)
Edwin Fischer (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 left the Fantasia in C minor, K396/K385f unfinished in 1782 and it was completed by Maximilian Stadler (1748–1833). It immediately announces its darkness of mood, this time with a turbulent ascending arpeggio. Again, it thrives on seering dissonances, diminished chords, a lack of harmonic resolution, copious chromaticisms and unexpected harmonic twists. But it has a greater pathos, with figures of wispy delicacy set high above strong bass-line foundations, and it lacks the seething quality of K475. Even so, when the opening arpeggio reappears in the major, it offers only a brief reprieve, as Mozart soon veers back to more ambiguous harmonic territory, landing once again in the minor with a left-hand accompaniment in the middle of the keyboard while the right hand darts from high to low, as if duetting with itself. Unlike K475, which ends in a mood of defiance, this Fantasia, following a reprise of its opening material, evaporates gently away to nothing.

Maximilian Stadler was himself an accomplished composer, but his posthumous reputation rests principally on his role as music adviser to Mozart’s widow. He was the first to order and catalogue the composer’s manuscripts, completing several of them besides K396. As well as having a sympathetic ear and a light editorial touch, he seems to have been a fascinating figure in his own right, anticipating John Cage in his invention of a kind of eighteenth-century music of chance, determined by the throw of a dice, and making arrangements of chants of the Mevlevi whirling dervishes.

from notes by Harriet Smith © 2008

Mozart laissa la Fantaisie en ut mineur, K396/K385f inachevée en 1782 et ce fut Maximilian Stadler (1748–1833) qui la termina. Comme K475, elle annonce d’emblée son atmosphère ténébreuse, mais en recourant à un turbulent arpège ascendant. De même, elle prospère sur des dissonances prophétiques, des accords diminués, une absence de résolution harmonique, des chromatismes copieux et des détours harmoniques inattendus. Mais elle présente un pathos exacerbé, avec des figures d’une délicatesse filigranée posées bien au-dessus de solides fondations en lignes de basse, loin du bouillonnement de K475. Mais même ainsi, la réapparition en majeur de l’arpège d’ouverture n’offre qu’un bref répit, Mozart rebasculant bientôt vers un territoire harmonique davantage ambigu pour se retrouver de nouveau en mineur, avec un accompagnement à la main gauche au centre du clavier, tandis que la main droite se précipite du haut vers le bas, comme en duo avec elle-même. Contrairement à K475, qui s’achève dans la défiance, cette Fantaisie, passé une reprise de son matériau initial, se réduit doucement à néant.

Maximilian Stadler était un compositeur accompli, bien qu’il soit surtout connu pour avoir été le conseiller musical de la veuve de Mozart—il fut ainsi le premier à ordonner et à cataloguer les manuscrits mozartiens, en achevant même plusieurs, en sus de K396. Mais derrière son oreille bienveillante et sa patte éditoriale légère se cache, semble-t-il, un personnage fascinant, qui préfigura John Cage en inventant une sorte de musique aléatoire du XVIIIe siècle, déterminée par le lancer de dés, et en réalisant des arrangements de psalmodies des derviches tourneurs Mawlawiyya.

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

Mozart ließ sie 1782 unvollendet, und sie wurde von Maximilian Stadler (1748–1833) ergänzt. Wie das spätere Stück kündigt auch sie unmittelbar ihre düstere Stimmung an, diesmal mit einem turbulenten aufsteigenden Arpeggio. Auch sie floriert mit ätzenden Dissonanzen, verminderten Akkorden, Mangel an harmonischer Auflösung, üppiger Chromatik und unerwarteten harmonischen Wendungen. Aber sie besitzt größeres Pathos, mit Figuren von zarter Feinfühligkeit, die hoch über starken Bassfundamenten liegen, und die brodelnde Qualität von K475 fehlt ihr. Doch bietet sie nur eine kurze Atempause, wenn das einleitende Arpeggio in Dur erscheint, denn Mozart kehrt bald in verschwommenere harmonische Gefilde zurück und landet mit einer Begleitfigur in der linken Hand in der Mitte der Klaviatur wieder in Moll, während die rechte von hoch nach tief flitzt, als ob sie mit sich selbst duellierte. Anders als K475, das in trotziger Stimmung schließt, verfliegt diese Fantasie nach einer Reprise ihres einleitenden Materials sacht ins Nichts.

Maximilian Stadler war selbst ein versierter Komponist, aber sein postumes Ansehen beruht hauptsächlich auf seiner Rolle als Musikberater für Mozarts Witwe. Er war der erste, der die Manuskripte des Komponisten ordnete und katalogisierte, und er vervollständigte außer K396 noch mehrere weitere Werke. Abgesehen von einem sympathischen Ohr und einer leichten redaktionellen Hand scheint er selbst auch eine faszinierende Gestalt gewesen zu sein—er antizipierte John Cage in einer Art Zufallsmusik des 18. Jahrhunderts, die durch Würfeln bestimmt wurde, und erstellte Bearbeitungen der Gesänge der wirbelnden Derwische des Mevlevi-Ordens.

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

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