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Track(s) taken from CDA67991/2


22 January 1949; Allegro con brio, A minor; composed at Brookwood, the home the work's dedicatee Marion Keyte-Perry

Chloë Hanslip (violin), Danny Driver (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: April 2012
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: May 2013
Total duration: 3 minutes 47 seconds

Cover artwork: The Embankment and Cleopatra's Needle at Night, London (c1910) by George Hyde Pownall (1876-1932)
Private Collection / Bourne Gallery, Reigate / Bridgeman Art Library, London

The Song and Bolero were both written on 22 January 1949 at Brookwood, home of their dedicatee, Marion Keyte-Perry, a retired headmistress whom Bowen’s biographer Monica Watson describes in notably waspish terms. The A minor Bolero affects only the most token nod at anything Spanish (time-honoured Flamenco modal colouring makes one comically incongruous appearance early on), and is effectively a Polonaise instead. After a more lyrical central passage in F major a reprise, consolidating more content within the tonic key, brings the Bolero to a rousing but concise conclusion.

from notes by Francis Pott © 2013

Le Chant et le Boléro furent rédigés le 22 janvier 1949 à Brookwood, où vivait leur dédicataire, Marion Keyte-Perry, un proviseur à la retraite dont Monica Watson, la biographe de Bowen, nous brosse un féroce portrait. Dans le Boléro en la mineur, l’hommage à quoi que ce soit d’espagnol est tout ce qu’il y a de plus symbolique (la couleur modale flamenca traditionnelle fait, au début, une apparition comiquement incongrue) puisqu’il s’agit, en fait, d’une polonaise. Après un passage central lyrique en fa majeur, une reprise, consolidant plus de choses dans le ton de la tonique, amène le Boléro à une conclusion vibrante mais concise.

extrait des notes rédigées par Francis Pott © 2013
Français: Hypérion

Song und Bolero wurden beide am 22. Januar 1949 in Brookwood geschrieben, dem Heim von Marion Keyte-Perry, der die beiden Stücke gewidmet sind. Die pensionierte Schulleiterin wird von Bowens Biographin Monica Watson in auffallend bissiger Weise beschrieben. Der a-Moll-Bolero deutet nur ganz symbolisch einen diffusen spanischen Einfluß an (der ehrwürdige modale Flamenco-Anklang ist nur einmal ganz am Anfang in komisch unpassender Weise zu vernehmen) und ist eigentlich eine Polonaise. Nach einer lyrischeren mittleren Passage in F-Dur schließt eine Reprise, die die Musik innerhalb der Grundtonart gehaltvoller festigt, den Bolero schwungvoll, aber prägnant ab.

aus dem Begleittext von Francis Pott © 2013
Deutsch: Christiane Frobenius

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