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Track(s) taken from CDA67651/2

Romance in A major

composer
1908; originally for cello and piano; viola arrangement by the composer

Lawrence Power (viola), Simon Crawford-Phillips (piano)
Recording details: November 2007
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: July 2008
Total duration: 5 minutes 50 seconds

Cover artwork: Sunrise by the Red Trees by Romy Ragan
Private Collection / Bridgeman Art Library, London
 
1

Reviews

'Bowen's music … is full of surprises and of a harmonic language and idiom peculiarly his own … both CDs are beautifully planned … and the performances could hardly be more glowing. Bowen's writing for both instruments is more than demanding yet nothing detracts from Lawrence Power's and Simon Crawford-Phillips's enviable fluency and achievement. Once again Hyperion hits the jackpot in a much-needed revival and the sound and balance are exemplary' (Gramophone)

'Following his successful recording of Bowen's Concerto, Lawrence Power turns to this repertoire with similar technical ease, and persuasively idiomatic tempo inflections and portamenti' (BBC Music Magazine)

'The music of the hugely prolific York Bowen is enjoying something of a renaissance … his long association with England's great champion of the viola, Lionel Tertis, produced some signficant sonatas, romances and rhapsodies which see the light of day again in this recording. Lawrence Power's gorgeous dark red tone is perfect for this repertoire' (The Observer)

'What a delicious recording … the two sonatas are fully persuasive from their first notes, each blessed with a sixth sense for Bowen's overarching structure. Power pulls new colours from his instrument with irrepressible bravura, while never losing a kindliness for the more intimate moments that … are as stylistically imperative as the grander apotheoses that call to mind Rachmaninov, Chopin or Debussy … the writing is quite masterful in its alchemy of structure and emotion and the performances are exquisitely balanced, refined and mindful of the elegiac character that broadly underpins the work … with music-making of this calibre, who can predict the summit of York Bowen's renewed celebrity? Bravo!' (International Record Review)

'All the pieces show Bowen's love of the instrument's capacity to unfold long-limbed, rhapsodic melodies … Lawrence Power's richly expressive moulding of them is a rare treat in itself' (The Guardian)

'The two viola sonatas of 1905 and 1906 are clearly inspired by the romantic style of Brahms's late sonatas for clarinet and viola. They are worthy successors, at least when played with the sumptuous tone, passionate convinction and supreme technical address that Power lavishes on them here. Even finer are the two single-movement pieces … Crawford-Phillips relishes the bravura of Bowen's writing for the piano in this superbly executed set, unlikely to be equalled very soon' (The Sunday Times)

'Power, the first British winner of the William Primrose International Viola Competition, now returns to this cherishable area of the repertoire with equally stunning results. Accompanied by Crawford-Phillips, Lawrence's fabulous combination of tonal seductiveness and technical wizardry works wonders in the bold expressive outlines of the two sonatas. Yet it is the heart-warming, stand-alone pieces (many recorded here for the first time) … that make this release truly indispensable. Another Hyperion winner' (Classic FM Magazine)

'Violist Lawrence Power and pianist Simon Crawford-Phillips touch the nerve centers of this music and convey its subtle flavors and fragrances. The recording is up to Hyperion’s high standard' (Fanfare, USA)

'The viola … has no better exponent than Lawrence Power … we must be very grateful that his music is now in wide circulation again … a real discovery' (Liverpool Daily Post)

'Lawrence Power, surely one of the finest viola players of today, and Simon Crawford-Phillips play magnificently and as one in this excellent survey of Bowen’s works for viola and piano. Hyperion’s recording, made at Potton Hall, is outstanding, and the set is recommended without reservation' (Audiophile Audition, USA)

'Composers whose rich romanticism was out of favour among 20th-century pundits who favoured angular austerity are finally receiving their due. Bowen believed the viola sounded more attractive than the violin and has a persuasive advocate in Power' (Classical Music)
Following his earlier Romance in D flat, Bowen composed the Romance in A major in 1908, this time originally for cello and piano, although he soon arranged it for viola. (He also went on to write two Romances for solo piano in 1913.) This work rises from the depths, spinning an expressive line, and as it moves up the instrument’s register it gains in tempo and emotion before sinking back. It goes through this procedure again, the second time more quickly, before the expressive viola frames the reflective coda high on the instrument.

from notes by Lewis Foreman © 2008

À la Romance en ré bémol de jeunesse succéda la Romance en la majeur (1908), originellement conçue pour violoncelle et piano, mais bientôt arrangée pour alto (Bowen écrira aussi deux Romances pour piano solo, en 1913). Cette œuvre s’élève des profondeurs pour filer une ligne expressive et, tout en gravissant le registre de l’alto, gagne en tempo, en émotion, puis retombe et repasse par ce procédé, mais plus rapidement, avant que l’alto expressif n’enserre la coda méditative dans les aigus.

extrait des notes rédigées par Lewis Foreman © 2008
Français: Hypérion

Nach seiner früheren Romanze in Des komponierte Bowen 1908 seine Romanze in A-Dur, diesmal original für Cello und Klavier, obwohl er sie bald für Bratsche bearbeitete. (Er schrieb 1913 noch zwei Romanzen für Soloklavier.) Dieses Werk steigt aus der Tiefe auf, indem es eine ausdrucksvolle Line spinnend durch die Register des Instruments klettert, und Tempo und Emotion nehmen zu, bevor es wieder niedersinkt. Diese Prozedur wird noch ein Mal durchgeführt, das zweite Mal schneller, bevor die expressive Viola hoch auf dem Instrument die reflexive Coda anstimmt.

aus dem Begleittext von Lewis Foreman © 2008
Deutsch: Renate Wendel

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