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Track(s) taken from CDA67889

Violin Sonata No 2 in G major 'Sonata espagnola', Op 82

composer

The Nash Ensemble
Recording details: December 2010
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: April 2012
Total duration: 15 minutes 1 seconds

Cover artwork: Clotilde and Elena on the Rocks, Javea (1905) by Joaquin Sorolla y Bastida (1863-1923)
Private Collection / Photo © Christie's Images / Bridgeman Art Library, London
 
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Vivo  [2'20]
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Reviews

'There's a gentle melancholy to overtly Spanish pieces such as La oración del torero and a warm, beguiling tunefulness to … the Piano Quartet, Op 67, all seductively played by The Nash Ensemble' (The Daily Telegraph)

'This excellent CD of chamber music … the performances throughout by these outstanding musicians, who are clearly wholly committed to Turina's music, are deeply impressive. The recording quality is also first-rate. Hyperion's world-renowed production values are equally consistently admirable and fully maintained here' (International Record Review)

'The near-masterpieces here … are the splendid Piano Trio Op 35, the A minor Piano Quartet Op 67, and the Violin Sonata, played with searing tone and rhythmic dash by Marianne Thorsen and Ian Brown, mainstays of the wonderful Nash Ensemble. Lawrence Power's viola and Paul Watkins' cello shine in, respectively, the Escena andaluza and the songful tenor/bass melodies of the trio. It would be hard to imagine more compelling performances' (The Sunday Times)

'Played with relish and sensitivity … this is music that paints pictures and is imbued with Spanish sunshine and sensual nocturnes, the listener serenaded with expressive warmth and a wide palette of colour, all lovingly played' (Time Out)
The Violin Sonata No 2 in G major, Op 82, subtitled ‘Sonata espagnola’, serves to illustrate how Turina reconciled his northern education and southern roots. For example, in the opening movement we are reminded of the strong tradition of variation form in Spanish music dating back to the sixteenth century. One such variation evokes a zortziko, a quintuple-metre dance from the Basque region. While many of the melodic lines may seem gypsy or specifically Andalusian in character, the harmonies employed do not necessarily derive from Spanish folk music. Rather, they reflect Turina’s admiration of his former Parisian colleagues, who were embellishing triadic harmonies with added pitches and at times abandoning the rules of functional harmony.

from notes by William C Krause © 2012

Le Sonate pour violon nº 2 en sol majeur op. 82, sous-titrée «Sonata espagnola», illustre comment Turina réconcilia son éducation septentrionale avec ses racines méridionales. Le mouvement d’ouverture nous rappelle ainsi la forte tradition—elle remonte au XVIe siècle—de la forme variation dans la musique espagnole. L’une de ces variations évoque un zortziko, une danse basque à cinq temps. Nombre des lignes mélodiques, peuvent paraître tziganes ou spécifiquement andalouses, mais les harmonies utilisées ne viennent pas forcément du folklore espagnol et reflètent plutôt l’admiration de Turina pour ses anciens confrères parisiens, qui embellissaient les harmonies de triade avec des hauteurs de son supplémentaires et abandonnaient parfois les règles de l’harmonie fonctionnelle.

extrait des notes rédigées par William C Krause © 2012
Français: Hypérion

Die Violinsonate Nr. 2 in G-Dur op. 82 trägt den Untertitel „Sonata espagnola“ und ist ein Beispiel dafür, wie Turina seine südlichen Wurzeln mit seiner nördlichen Ausbildung vereinigte. So wird im ersten Satz zum Beispiel an die ausgeprägte Tradition der Variationsform in der spanischen Musik erinnert, die bis ins 16. Jahrhundert zurückgeht. Eine solche Variation stellt den Zortziko, einen baskischen Tanz im Fünferrhythmus, dar. Zwar mögen viele der melodischen Linien zigeunerhaft oder sogar andalusisch anmuten, doch entstammen die Harmonien nicht unbedingt der spanischen Volksmusik. Vielmehr reflektieren sie Turinas Bewunderung für seine ehemaligen Pariser Kollegen, die Dreiklangsharmonien mit hinzugefügten Tonstufen verzierten und zuweilen von den althergebrachten Regeln harmonischer Funktionen abschweiften.

aus dem Begleittext von William C Krause © 2012
Deutsch: Viola Scheffel

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