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.
Weighing up all the evidence it seems impossible to assert with any real confidence that Johann Sebastian was the author of this work. However, if another source should come to light in the future, strengthening the association, it would be in many ways immensely satisfying as it would provide us with an important precedent for the ‘Goldberg Variations’. For here, as in BWV998, is an ingenious set of variations upon the underlying harmonic structure of a simple Sarabande. Some have tried to suggest that the piece was composed in the mid-seventeenth century (Eichberg 1975), but, given the complexity of the figuration and at times highly developed harmonic idiom in some of the more expressive movements, a later date would seem more appropriate. Whatever the case, this is a superbly attractive set of variations upon the most simple and beautiful of dance-inspired themes—without doubt the work of a highly skilled composer and absolutely worthy of its current (albeit peripheral) status in Bach’s keyboard oeuvre.
One unusual feature of the variation set is the inclusion of a suite at the end, occupying the final four partitas (numbers XIII-XVI). After the seemingly climactic fanfare-like partita XII this comes as something of a surprise and marks a significant departure from the norm compared with mainstream developments in the variation tradition of the early eighteenth century. However, the inclusion of the four dance movements (Allemanda, Courante, Aria Variata and Giguetta) lends the work a certain charm and there is something recognisably conclusive about the rustic and up-beat gigue which brings the work to a close. The use of delicate style brisé textures throughout leaves little doubt that these variations were conceived for the harpsichord rather than the organ.
from notes by Matthew Halls © 2009