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Track(s) taken from CDA67967

Naila Waltz

composer
1867; originally written as an addition to Adolphe Adam's ballet Le corsaire; subsequently used in a revival of the Delibes/Minkus ballet La source, ou Naila of 1866
arranger
1897

Piers Lane (piano)
Studio Master FLAC & ALAC downloads available
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Recording details: June 2012
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Rachel Smith
Engineered by Ben Connellan
Release date: September 2013
Total duration: 7 minutes 29 seconds

Cover artwork: Portrait of Piers Lane by John Beard (b1943)
www.johnbeardart.com
 
1
Naila Waltz  [7'29]  arr. Ernő Dohnányi (1877-1960)

Other recordings available for download

Martin Roscoe (piano) March 2015 Release

Reviews

'This superbly recorded disc (played on a gorgeously voiced Steinway) is Lane's love letter to the piano. I wish more pianists would share their guilty pleasures like this' (Gramophone)

'Lane in wonderful, debonair mode here, sparkling through a personal encore selection from Jamaican Rumba to a Toccata by his own father, and from Myra Hess to Dudley Moore' (BBC Music Magazine)

'Puts smiles on our faces and tears in our eyes … Katharine Parker's Down Longford Way grows from an Ivor Novello-like charm into an opulently Romantic piece of striking contrast and colour, indeed the perfect choice with which to launch the disc. The playing throughout is first-class: witty where it needs to be, reflective and joyous elsewhere … Lane is a dynamic, insightful pianist who is able to bring a new perspective to the repertoire. His renditions of the Grainger and Bach / Hess pieces are quite beautiful, and in Mayerl's Marigold I can hardly imagine a more heartfelt account' (International Record Review)

'Piers Lane, one of the most versatile pianists around, presents many sides of himself in a selection of pieces that may seem topsy-turvy, incongruous even, but there are some wonderful and brilliant things here to be re-united with or discovered, and each piece is superbly played, with complete identification, and beautifully recorded too—just like a piano should sound, with all of Lane’s colours, dynamics and inflections faithfully relayed' (ClassicalSource.com)
Dohnányi’s Naila Waltz, from Delibes’s ballet La source, ou Naila, is based on a ‘Pas des fleurs’ that Delibes actually wrote as a divertissement for a ballet by another composer, one year after composing La source. The ‘Pas des fleurs’ was later incorporated into a production of La source and became one of the work’s most memorable numbers. As with his arrangements of the other waltzes, Dohnányi follows the basic form of Delibes’s original, but enhances the melodic and harmonic vocabulary by infusing his own distinctive voice as a master composer and virtuoso pianist. Dohnányi created the Naila paraphrase in 1897, shortly after graduating from the Academy of Music in Budapest. The work quickly became a staple of his repertoire as a concert finale, but he did not publish the work until 1916, when he joined the faculty of the Liszt Academy.

from notes by James A Grymes © 2015

La Valse de Naila, tirée du ballet La source, ou Naila de Léo Delibes, repose sur un «Pas des fleurs» conçu pour servir de divertissement dans le ballet d’un autre compositeur avant d’être incorporé dans une production de La source, écrit un an plus tôt. Il en deviendra un des plus mémorables numéros. Comme pour ses arrangements des autres valses, Dohnányi suit la forme basique de l’original de Delibes mais rehausse le vocabulaire mélodico-harmonique en instillant son style de maître compositeur et de pianiste virtuose. Il créa la paraphrase Naila en 1897, peu après avoir obtenu son diplôme de l’Académie de musique de Budapest. Cette œuvre devint vite, pour lui, un final de concert incontournable, mais il ne la publia pas avant 1916, date à laquelle il rejoignit l’Académie Liszt.

extrait des notes rédigées par James A Grymes © 2015
Français: Hypérion

Dohnányis Walzer Naila aus Delibes’ Ballett La source, ou Naila basiert auf einem „Pas des fleurs“, den Delibes eigentlich als Divertissement für ein Ballett eines anderen Komponisten ein Jahr nach der Komposition von La source geschrieben hat. Der „Pas des fleurs“ wurde später in eine Aufführung von La source aufgenommen und zu einem der einprägsamsten Stücke des Werkes. Wie bei seinen Bearbeitungen der anderen Walzer hielt Dohnányi sich an die Grundform von Delibes’ Original, reicherte jedoch das melodische und harmonische Vokabular an, indem er es mit seinem eigenen ausgeprägten Stil als meisterhafter Komponist und Klaviervirtuose erfüllte. Dohnányi schrieb die Naila-Paraphrase im Jahre 1897, kurz nach seinem Abschluß an der Budapester Musikakademie. Sie gelangte in seinem Repertoire schnell zu großer Bedeutung als Konzertfinale, aber er veröffentlichte das Werk erst 1916, als er an der Liszt-Akademie lehrte.

aus dem Begleittext von James A Grymes © 2015
Deutsch: Christiane Frobenius

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