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Track(s) taken from APR7502

Gigue in G major, K574

16 May 1789; later published as Eine kleine Gigue

Eileen Joyce (piano)
Recording details: November 1941
Columbia Records England, United Kingdom
Release date: September 2011
Total duration: 1 minutes 30 seconds

Other recordings available for download

Marc-André Hamelin (piano)


'Listening to Joyce is strangely addictive. One cannot wait, as it were, to read the next chapter. She shares with Kreisler and Tauber the same unteachable ability to elevate the second-rate to the first-rate, and to illuminate familiar masterpieces with a convincing and unmistakable voice … this is such a cornucopia of good things it is hard to know where to start … full marks all round for an early Award contender' (Gramophone)» More

'The quality that comes across in these performances is the sheer joy of playing. Joyce possessed a formidable technique and an interpretative mind that blended stylish sensibility with passion … Joyce’s breadth as well as her impeccable touch and distinctive artistic personality are valuably recalled here.' (The Telegraph)» More

'The Ballades are simply magnificent, up there with the best. Always warm and well-shaped, they are very complete in their understanding of where the music is going, always convincing in their rubato' (MusicWeb International)
If the D minor Fantasia, K397, reveals Mozart’s admiration for C P E Bach, the Gigue in G major, K574 (‘Eine kleine Gigue’, as it later appeared), sounds like a slightly skewed tribute to Johann Sebastian and Handel, whose music Mozart heard and played at Baron van Swieten’s weekly musical matinees. He composed the Gigue, aptly, in Leipzig on 16 May 1789, inscribing it into the album of the Saxon court organist, Herr Engel. In Mozart’s hands, Baroque-style three-part counterpoint and the darting energy of the traditional dance become the cue for an idiosyncratic, angular piece full of disorienting chromaticism, quirky cross-rhythms and antic contrasts of register.

from notes by Richard Wigmore © 2015

Si la Fantaisie en ré mineur, K397, révèle l’admiration de Mozart pour C. P. E. Bach, la Gigue en sol majeur, K574 (parue plus tard sous le titre de «Eine kleine Gigue»), semble rendre indirectement hommage à Johann Sebastian Bach et à Haendel, dont Mozart entendit et joua les œuvres lors des matinées musicales hebdomadaires du baron van Swieten. Il composa la Gigue, avec à-propos, à Leipzig le 16 mai 1789 et l’inscrivit dans l’album de l’organiste de la cour de Saxe, Herr Engel. Entre ses mains, le contrepoint baroquisant à trois parties et l’énergie vivace de la danse traditionnelle donnent le signal à une pièce hachée, très particulière, toute en chromatisme désorientant, en contre-rythmes bizarres et en antiques contrastes de registre.

extrait des notes rédigées par Richard Wigmore © 2015
Français: Hypérion

Zeigt die Fantasia in d-Moll, KV 397, Mozarts Bewunderung für C. Ph. E. Bach, klingt die Gigue in G-Dur, KV 574 (später auch als „Eine kleine Gigue“ bezeichnet), wie ein leicht verzerrter Tribut an Johann Sebastian Bach und Händel, deren Werke Mozart bei Baron van Swietens wöchentlichen musikalischen Matineen hörte und spielte. Er komponierte die Gigue passenderweise in Leipzig am 16. Mai 1789 und trug sie in das Stammbuch des sächsischen Hoforganisten Karl Immanuel Engel ein. Bei Mozart werden der dreistimmige Kontrapunkt im Barockstil und die sprunghafte Energie des herkömmlichen Tanzes zum Auslöser für ein eigenartiges, kantiges Stück voll verwirrender Chromatik, schräger Gegenrhythmen und grotesker Lagenkontraste.

aus dem Begleittext von Richard Wigmore © 2015
Deutsch: Christiane Frobenius

Other albums featuring this work

Mozart: Piano Sonatas
Studio Master: CDA680292CDs for the price of 1Studio Master FLAC & ALAC downloads available
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