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Track(s) taken from CDA67736

Chaconne in G major, HWV435

composer
published as No 2 of a set of nine suites by John Walsh around 1733; with 21 variations

Angela Hewitt (piano)
Studio Master FLAC & ALAC downloads available
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Recording details: March 2009
Jesus-Christus-Kirche, Berlin, Germany
Produced by Ludger Böckenhoff
Engineered by Ludger Böckenhoff
Release date: September 2009
Total duration: 7 minutes 28 seconds

Cover artwork: Photo of Angela Hewitt by James Cheadle.
 
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Other recordings available for download

Danny Driver (piano)
Edwin Fischer (piano)

Reviews

'Hewitt distils the essence of the original instruments without compromsing her out-and-out commitment to the modern keyboard … the large-scale Haydn E flat Sonata is superb, above all the middle movement in an astonishing and other-wordly E major. Hewitt's dynamic range is bold … and the glittering facility of the final Presto is thrilling. Altogether a splendid contribution to these composers' anniversary year' (BBC Music Magazine)

'Everything emerges with an impressive combination of clarity and vitality … the programme is unique to the current catalogue, and Hewitt's favoured Fazioli instrument has been recorded with superb fidelity' (International Record Review)

'What intrigues me most about Angela Hewitt's playing is the tension between the expressive restrictions of her 18th-century repertoire, and the imagination she deploys so fully within its boundaries … she takes pains to make each strand of the music apparent to the listener … technical virtuosity put to the service of Haydn's brilliant wit' (Fanfare, USA)

'Canadian pianist Angela Hewitt, famous for playing Bach, commands the very different, more Italianate style of Handel. The last work on the disc is Haydn's great E flat Sonata and I like Hewitt's way with its Adagio best of all' (Daily Mail)
The Chaconne in G major with twenty-one variations was published as ‘Suite No 2’ in the 1733 collection. This magnificent piece is Handel at his most Gallic, with shades of the clavecinistes—Rameau, Couperin—in the elaborately ornamented Sarabande theme and several of the variations. In time-honoured fashion, the figuration grows increasingly animated during the early variations. Variations 9 to 16 are in G minor, beginning with a tender contrapuntal meditation on the theme—one of Handel’s most poetic keyboard inventions. By the time the major key re-emerges in variation 17, Handelian virtuosity is again in full spate. We can imagine the composer playing this Chaconne on his colourful two-manual Ruckers harpsichord at home in Brook Street, to the astonished delight of privileged visitors.

from notes by Richard Wigmore © 2014

La magnifique Chaconne en sol majeur, avec vingt et une variations—la «Suite nº 2» du recueil paru en 1733—montre Haendel dans tout ce qu’il a de plus français: l’ombre des clavecinistes—Rameau, Couperin—plane sur le thème de la Sarabande, orné avec recherche, et sur plusieurs variations. Suivant une mode consacrée par l’usage, la figuration s’anime dans les premières variations. Les variations 9 à 16, en sol mineur, commencent par une tendre méditation contrapuntique sur le thème—l’une des inventions claviéristiques les plus poétiques de Haendel. Lorsque la tonalité majeure resurgit dans la variation 17, la virtuosité haendélienne redevient profuse. Et l’on imagine le compositeur chez lui, dans Brook Street, jouant cette Chaconne sur son pittoresque clavecin Ruckers à deux manuels, à la joie stupéfaite de visiteurs privilégiés.

extrait des notes rédigées par Richard Wigmore © 2014
Français: Hypérion

In der Chaconne in G-Dur mit 21 Variationen, der in der Ausgabe von 1733 als „Suite Nr. 2“ bezeichnet war, zeigt Händel sich von seiner französischsten Seite und verweist in dem reich verzierten Thema der Sarabande und mehreren Variationen mehrfach auf die berühmten clavecinistes Rameau und Couperin. Gemäß althergebrachter Tradition werden diese Figurationen in den frühen Variationen zunehmend lebhaft. Die Variationen 9 bis 16 stehen in g-Moll und beginnen mit einer zarten kontrapunktischen Meditation über das Thema—ein besonders poetisches Tastenwerk Händels. Wenn jedoch in Variation Nr. 17 das Dur wieder hervortritt, ist auch Händels Virtuosität wieder in vollem Gange. Man kann sich lebhaft vorstellen, wie der Komponist diese Chaconne an seinem farbenreichen, zweimanualigen Ruckers-Cembalo zuhause in der Brook Street spielte und privilegierte Besucher damit in begeistertes Erstaunen versetzte.

aus dem Begleittext von Richard Wigmore © 2014
Deutsch: Viola Scheffel

Other albums featuring this work

Edwin Fischer – The First Beethoven Sonata Recordings
APR5502Download only
Handel: The Eight Great Suites
Studio Master: CDA68041/22CDsStudio Master FLAC & ALAC downloads available
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