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Track(s) taken from CDA67806

The Lark

composer
arranger

Danny Driver (piano)
Recording details: March 2010
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: February 2011
Total duration: 5 minutes 39 seconds

Cover artwork: Rainbow (1900-05) by Arkhip Kuindzhi (1842-1910)
 
1

Reviews

'Danny Driver continues his Hyperion exploration of the piano repertoire with delightful interpretations of Mily Balakirev. In particular, the piano sonata in B flat minor is a terrific, big-hearted piece, unlike anything else from its period, and its neglect in the concert hall is surely due a reappraisal … impressive playing throughout ensures that your finger won't stray far from the replay button' (The Observer)

'In the case of the Sonata, motifs of folk song add a distinctive tang to a work of unorthodox construction but fascinating originality. Bravo to Hyperion for championing this music and to Driver for playing it with such sensitivity, polish and élan' (The Daily Telegraph)

'The three releases by the young British pianist Danny Driver have met with considerable acclaim. It's wonderful to see a talent such as this continuing to address the more obsure pianistic byways, and here Driver has assembled a fabulous array of works from Balakirev's very varied keyboard output … as ever, Hyperion provides recording quality and programme notes which are first class in every way' (International Record Review)

'Danny Driver's recordings of York Bowen for Hyperion have enjoyed critical success; here he shows himself a sterling interpreter of Russian repertoire … Driver is most attentive to the musics nuances. The Mazurka second movement is another of contrasts and he captures the dance element perfectly, revelling in sometimes extreme ornamentation … the recording is first class, with great presence' (International Piano)

'Young British pianist, Danny Driver, produces all the technical fireworks needed' (Yorkshire Post)
Much more famous than his Taneyev arrangements is Balakirev’s elaboration of Glinka’s song The Lark. Here the textures come unequivocally from the Listzian stable, including the much-vaunted ‘three-handed’ technique that he, and especially his great pianistic rival Sigismond Thalberg, had virtually made into a cult.

from notes by David Fanning © 2011

Le développement que Balakirev fit du chant L’alouette de Glinka est bien plus célèbre que ses arrangements de Taneïev. Ici, les textures portent clairement la casaque de l’écurie lisztienne, notamment la technique «à trois mains» tant vantée que Liszt, et surtout son grand rival pianistique Sigismond Thalberg, avaient peu ou prou érigée en culte.

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

Sehr viel berühmter als Balakirews Tanejew-Arrangements ist seine Bearbeitung von Glinkas Lied Die Lerche, deren Strukturen unüberhörbar aus dem Hause Liszt stammen wie auch die stark strapazierte „Dreihandtechnik“, die er und vor allem sein großer Klavierrivale Sigismund Thalberg fast zum Kult ausgestaltet hatten.

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

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