Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Click cover art to view larger version
Track(s) taken from CDA67820

Berceuse sur le nom de Gabriel Fauré

composer
1922; composed as part of a homage to Fauré in the October 1922 Revue musicale

Alina Ibragimova (violin), Cédric Tiberghien (piano)
Recording details: November 2010
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: September 2011
Total duration: 3 minutes 7 seconds

Cover artwork: Appletree and Red Fruit (c1902) by Paul Ranson (1863-1909)
Museum of Fine Arts, Houston, Texas / Gift of Audrey Jones Beck / Bridgeman Art Library, London
 
1

Reviews

'The instinctive artistic collaboration between Alina Ibragimova and Cédric Tiberghien … is again brought to the fore in this perceptive and magically played programme of French chamber music … they have great fun with the wild gipsy flair of Tzigane, but you can tell that this spontaneity is born of deep understanding of the music’s character and of unshakeable rapport. In the entire programme the playing is of finesse and winning, communicative allure' (The Daily Telegraph)

'Just under their ease of delivery lie fire and muscle; and their dynamics and touch modulate even more than the music's keys. Ibragimova is especially adorable in the slow movement, tumbling gracefully, high in the air, through a melody that never seems to end … the best is yet to come. In the G major sonata's first movement Tiberghien stabs while Ibragimova soars, the contrast between them deliberately underlined, the better to generate extra power whenever they intertwine. The central blues movement is magnificently judged building up from coquettish whispers toward the darkly brazen … a triumph' (The Times)

'Ibragimova’s tone is taut, sweet and astringent, but with plenty of power in her bowing arm … while Tiberghien’s limpid touch and easy bravura are perfect for this music. The lovely central movement, très lent, is Lekeu’s masterpiece, done with exquisite intensity here … Ibragimova and Tiberghien do it proud' (The Sunday Times)

'This must count as one of the most satisfying surveys of Ravel's complete violin music in the catalogue' (The Strad)

'Alina Ibragimova and Cédric Tiberghien possess the rare gift of being able to recreate on disc the same captivating spontaneity and musical intensity that distinguishes their concerts. Rarely have the sleek lines and textures of Ravel's two sonatas sounded so alluring, nor the manic drive of the Tzigane so deliriously intoxicating. Their sublimely articulate and sensitive account of the Lekeu Sonata surpasses even Menuhin's 1938 trailblazer' (Classic FM Magazine)
From his arrival in Fauré’s class until that composer’s death in 1924, Ravel remained on friendly terms with his teacher, even though his music shows barely any Fauréan influence other than a distaste for loquacity. When the journalist Henry Prunières was planning a Fauré number of his Revue musicale in October 1922, Ravel joined six other pupils in providing a musical homage. Fauré had been let in on the idea and had suggested a theme drawn from his music to Prométhée, but in the end his pupils chose a musical transliteration of the name Gabriel Fauré: GABDBEE FAGDE. Ravel’s Berceuse has an unassuming grace worthy of its dedicatee, and its contrasts, as in the early Sonata movement, are largely between modal and chromatic harmonies. The score is marked semplice and the violin is muted throughout.

from notes by Roger Nichols © 2011

De son arrivée dans la classe de Fauré jusqu’à la mort de ce dernier, en 1924, Ravel resta ami avec son professeur, même si sa musique n’offre guère comme influence fauréenne qu’une aversion pour la loquacité. Lorsque le journaliste Henry Prunières envisagea de consacrer un numéro de sa Revue musicale à Fauré, en octobre 1922, Ravel et six autres élèves s’unirent pour concocter un hommage musical. Ayant eu vent du projet, Fauré avait suggéré un thème tiré de sa musique pour Prométhée mais ses élèves optèrent finalement pour une translittération musicale de son nom: GABDBEE FAGDE. La Berceuse ravélienne recèle un charme sans prétention, digne de son dédicataire, avec des contrastes partagés, en gros, entre harmonies modales et chromatiques, comme dans le mouvement de la Sonate. La partition est marquée semplice et le violon est constamment avec sourdine.

extrait des notes rédigées par Roger Nichols © 2011
Français: Hypérion

Obwohl er von seinem Eintritt in Faurés Klasse an bis zum Tod des Komponisten im Jahr 1924 mit seinem Lehrer befreundet war, ist in Ravels Musik kaum ein Einfluss Faurés—außer einer Abneigung gegenüber Schwatzhaftigkeit—festzustellen. Als der Journalist Henry Prunières im Oktober 1922 eine Fauré-Ausgabe seiner Revue musicale plante, tat Ravel sich mit sechs anderen Schülern zusammen, um eine musikalische Hommage zu erstellen. Fauré war darüber in Kenntnis gesetzt worden und hatte ein Thema aus seiner Musik zu Prométhée vorgeschlagen; letztendlich jedoch entschieden sich seine Schüler für eine musikalische Transliteration des Namens Gabriel Fauré: GABDBEE FAGDE. Ravels Berceuse besitzt eine bescheidene Anmut, die ihres Widmungsträgers würdig ist, und die Kontraste finden sich, ebenso wie in dem frühen Sonatensatz, hauptsächlich zwischen den modalen und chromatischen Harmonien. Der Notentext ist mit semplice überschrieben und die Geige soll durchweg gedämpft gespielt werden.

aus dem Begleittext von Roger Nichols © 2011
Deutsch: Viola Scheffel

Waiting for content to load...
Waiting for content to load...
Search

There are no matching records. Please try again.