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Track(s) taken from CDA67825

Élégie, Op 38

composer
1935; composed In piam memoriam matris meae delectae

D'Arcy Trinkwon (organ)
Recording details: October 2009
Tonbridge School Chapel, Kent, United Kingdom
Produced by Mark Brown
Engineered by Simon Eadon
Release date: January 2011
Total duration: 8 minutes 9 seconds

Cover artwork: Angels in the Night (1896) by William Degouve de Nuncques (1867-1935)
Rijksmuseum Kröller-Müller, Otterlo, Netherlands / Lauros / Giraudon / Bridgeman Art Library, London
 
1
Élégie Op 38  [8'09]

Reviews

'This welcome release should do much to restore Peeters's reputation as one of the most craftsmanlike and consistently satisfying organist-composers of the past century … the Tonbridge Marcussen [is] ideally suited to Peeters's clear contrapuntal voice-leading. Beautifully recorded, with excellent notes by David Gammie' (Gramophone)

'One mentions the varied nature of the music on this disc because it is so interesting and worthwhile and is so relatively infrequently heard these days, but the main plaudits should go to Trinkwon, whose playing throughout, particularly his tempos, phrasing and registrations, are of the highest class … all in all this CD constitutes another most valuble and welcome issue from Hyperion—so much so that one hopes it will lead to others' (International Record Review)
Peeters lost his father when he was only seven. When his mother died in 1935 he was moved to compose one of his most intense and personal works; the Élégie is dedicated In piam memoriam matris meae delectae (In blessed memory of my beloved mother). Marked Lento doloroso, and con grande espressione, the lament unfolds above an incessant tonic pedal, which is repeated in a syncopated ostinato throughout the first fifty bars while the music grows to a passionate climax and then subsides again. The ethereal final page moves from D minor to major, and introduces the plainsong In Paradisum: ‘May the angels lead you into Paradise …’. Here the ostinato is transformed into a gentle chime on the manuals, and the pedal note is sustained; it finally disappears at the very end while the hushed concluding chords float up to heaven.

from notes by David Gammie © 2011

Peeters n’avait que sept ans quand il perdit son père. La mort de sa mère, en 1935, lui inspira l’une de ses œuvres les plus intenses et les plus personnelles: Élégie, dédiée In piam memoriam matris meae delectae (En mémoire bénie de ma mère bien-aimée). Marquée Lento doloroso et con grande espressione, cette lamentation s’éploie par-dessus une incessante pédale de tonique, répétée en un ostinato syncopé tout au long des cinquante premières mesures cependant que la musique croît jusqu’à un apogée passionné avant de s’évanouir à nouveau. La dernière page, éthérée, passe de ré mineur à majeur et introduit le plain-chant In paradisum: «Puissent les anges te mener au paradis». Ici, l’ostinato est mué en un doux carillon aux manuels et la note pédale est tenue pour ne disparaître qu’à la toute fin, pendant que les sourds accords conclusifs s’envolent vers le ciel.

extrait des notes rédigées par David Gammie © 2011
Français: Hypérion

Peeters war erst sieben Jahre alt, als er seinen Vater verlor, doch als 1935 seine Mutter starb, komponierte er eines seiner intensivsten, höchst persönlichen Werke, die Élégie, mit der Widmung In piam memoriam matris meae delectae (In treuem Andenken an meine geliebte Mutter). Die Klage mit den Vortragsbezeichnungen Lento doloroso und con grande espressione entfaltet sich über einem beharrlichen tonischen Pedal, das in den ersten fünfzig Takten durchwegs in synkopiertem Ostinato wiederholt wird, während die Musik zu einem leidenschaftlichen Höhepunkt anschwillt und dann wieder verebbt. Die zarte letzte Seite geht von d-Moll nach Dur und führt den Plainsong In Paradisum ein: „In Paradisum deducant te angeli …“ (Ins Paradies mögen die Engel dich geleiten). Hier wird das Ostinato auf den Manualen in ein zartes Läuten mit ausgehaltener Pedalnote umgeformt; und ganz am Ende erscheint es schließlich zu verhaltenen, himmelwärts schwebenden Schlussakkorden.

aus dem Begleittext von David Gammie © 2011
Deutsch: Henning Weber

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