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Track(s) taken from CDA67950

Salut à Vienne 'Rondo brillant', Op 32

composer
1846; original versions for piano solo, piano and string quintet, and piano and orchestra existed; full orchestral parts untraceable

Howard Shelley (piano), Tasmanian Symphony Orchestra, Howard Shelley (conductor)
Studio Master FLAC & ALAC downloads available
CD-Quality:
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CD-Quality:
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Recording details: July 2012
Federation Concert Hall, Hobart, Tasmania, Australia
Produced by Ben Connellan
Engineered by Veronika Vincze
Release date: September 2013
Total duration: 10 minutes 55 seconds
 
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Reviews

'These works offer a fascinating backdrop to the greatest masterpieces of the age. And you couldn't imagine a finer advocate than Howard Shelley, who is not only palpably committed to the cause (enthusing the Tasmanian Symphony Orchestra in the process) but who has both the dexterity and the musicality to make the best possible case for this music. Mention should be made, too, of the entertaining and informative notes by Jeremy Nicholas' (Gramophone)

'Played like this with virtuoso panache and total conviction, these pieces sound like neglected masterworks' (BBC Music Magazine)

'Howard Shelley, joyously familiar to collectors of this series, negotiates the coruscating arabesques, trills, repeated notes, thirds and what not with great aplomb, synchronising the orchestral accompaniment with remarkable skill even in rubato places where you'd think both hands were more full … the album is well worth the money for these works alone … Shelley is brilliant, as ever … adventurous newcomers should hop aboard, instantly. Another Hyperion triumph' (International Record Review)

'Shelley's limpid touch, clarity of fingerwork and limitless musicality make the effort sound as if it’s the proverbial piece of cake. The Tasmanian Symphony Orchestra rises to the challenge with verve and charm' (Sinfini.com)
Dreyschock’s Salut à Vienne: Rondo brillant, Op 32, was published as a piano solo, for piano and string quintet, and as a work for piano and orchestra. Unable to track down the full score and parts, Howard Shelley has opted for the version with strings only, but played by the full orchestral section (the loss of the clarinet and timpani, for which there are cues in the solo piano score, is partially offset by the inclusion of the triangle—predating its use in Liszt’s E flat major Concerto). It’s an effective little showpiece in two sections, with Dreyschock’s predilection for octaves much in evidence, especially in the coda. This is a light-hearted romp, no more or less, and best appreciated as such.

from notes by Jeremy Nicholas © 2013

Le Salut à Vienne: Rondo brillant op. 32 de Dreyschock parut en trois versions: pour piano solo, pour piano et quintette à cordes, ou pour piano et orchestre. N’ayant pu retrouver ni la grande partition ni les parties, Howard Shelley a opté pour la version avec cordes seulement, mais jouée ici par toute la section orchestrale (la perte de la clarinette et des timbales, dont on a des indices dans la partition pour piano solo, est partiellement compensée par l’inclusion du triangle—antérieure à l’usage que Liszt en fit dans son Concerto en mi bémol majeur). C’est un efficace petit morceau de démonstration en deux sections, où la prédilection de Dreyschock pour les octaves est flagrante, surtout dans la coda. C’est une farce badine, ni plus ni moins, et c’est ainsi qu’on l’apprécie le mieux.

extrait des notes rédigées par Jeremy Nicholas © 2013
Français: Hypérion

Dreyschocks Salut à Vienne: Rondo brillant op. 32 erschien als Werk für Soloklavier, Klavier mit Streichquintett sowie Klavier und Orchester. Da die Partitur und die Orchesterstimmen nicht ausfindig gemacht werden konnten, hat sich Howard Shelley für die Streichquintett-Version entschieden, die hier jedoch mit dem gesamten Streicherapparat des Orchesters gespielt wird. (Der Wegfall der Klarinette und der Pauken, von denen in den Noten für Piano solo Stichnoten vorhanden sind, wird teilweise durch die Verwendung des Triangels ausgeglichen, sozusagen Liszts Es-Dur-Klavierkonzert vorweg nehmend.) Das Werk ist ein wirkungsvolles, kurzes Virtuosenstück in zwei Teilen, das Dreyschocks Vorliebe vor allem in der Coda deutlich erkennen lässt. Es ist ein fröhlicher Kehraus, nicht mehr und nicht weniger, und als solchen sollte man es am besten bewerten.

aus dem Begleittext von Jeremy Nicholas © 2013
Deutsch: Ludwig Madlener

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