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Track(s) taken from CDA67995

Sonata in E minor, H33

composer
1742/3, published in 1744; No 3 of Württemberg Sonatas, Wq49

Mahan Esfahani (harpsichord)
Studio Master FLAC & ALAC downloads available
CD-Quality:
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Recording details: January 2013
Henry Wood Hall, London, United Kingdom
Produced by Tim Oldham
Engineered by David Hinitt
Release date: January 2014
Total duration: 13 minutes 54 seconds

Cover artwork: Reclining male nude supported on left arm, looking upwards by Anton Raphael Mengs (1728-1779)
Courtesy of the Martin von Wagner Museum, University of Würzburg
 
Württemberg Sonatas, Wq49
1
Allegro  [6'03]
2
Adagio  [4'12]
3
Vivace  [3'39]

Reviews

'The playing here is miles away from the clangorous, congested sound once so typical of harpsichord recitals, denounced by Sir Thomas Beecham as like listening to ‘copulating skeletons’ … hopefully, we will get more new recordings from Esfahani. I’d love to hear him in some of Emanuel’s many keyboard concertos' (The Mail on Sunday)» More

'The elusive fusion of thematic intricacy, 'Baroque' rhetoric and 'proto-Classical' Sturm und Drang offered by the instrument are caught perfectly by Esfahani's supple touch and disarming sense of rhetorical pacing' (Gramophone)» More

'Esfahani's first solo disc provides a particularly welcome introduction onto the world stage for an artist matching, in 'expression', CPE Bach himself' (BBC Music Magazine)» More
PERFORMANCE
RECORDING

'Esfahani's debut solo recording is of music that, appropriately enough, boldly breaks rank in pursuit of new ideals. C. P. E. Bach’s six keyboard sonatas … are models of the unconventional, exploratory in many respects, and exemplars of the empfindsamer Stil that gave voice to the expressive concerns of a number of European composers in the mid-eighteenth century … Bach’s guiding interest in the artistic sensibilities that produced such movements as Sturm und Drang is clearly evident in music of frequently changing mood and affekt, and it is this sense of the unsettled, of not quite knowing what’s being aimed for or where the music is heading, that makes his music at once so interesting and so difficult to interpret well … The many sudden dynamic changes in the ‘Württemberg Sonatas’ Esfahani has to achieve on the harpsichord through changes of manual or by adding or subtracting registers, and the sureness with which he does it, especially mid-phrase and at speed, with barely a breath between them, is impressive … The ‘Württemberg Sonatas’ … need a virtuoso interpreter not only to bring off the more showy aspects of the writing—which Esfahani does with strong-fingered assurance—but also to make sense of the inherent strangeness of other parts of the music. The opening movement of No. 6 is an operatic scena in all but name, a recitative keenly characterized by tonal contrast as well as by-phrases that peter out with little real continuity or resolution. In lesser hands the movement would fall to bits, but Esfahani makes coherence out of apparent incoherence, manages to get the music to hang together and establishes dramatic momentum, displaying an authoritative understanding of Bach’s rhetoric … As for his playing, in the best sense it is anything but unpredictable: sure-minded and vividly realized, it holds the attention with ease and is a pleasure to hear. This is an excellent recording and it can be thoroughly recommended' (International Record Review)» More

'In this winning performance by the young American-Iranian harpsichordist, one is taken aback by the avant-garde effects and abrupt changes of tempo and mood. The sound of his instrument—a reproduction based on models by the Berlin court harpsichord-maker Michael Mietke (d 1719)—enjoys a wide-ranging spectrum of timbres in Esfahani’s dexterous hands, but it is the verve of his allegros and the affecting pathos of his slow movements that mark him out as a special interpreter of this fascinating composer’s music in his tercentenary year' (The Sunday Times)» More

'Technique extraordinairement réactive, sens inné du son, sensibilité merveilleusement communicative : un tel rayonnement est chose rare … dans sa notice, Esfahani se livre à une analyse des mouvements extrêmement argumentée, qui témoigne d’une maturité saisissante. On a rarement entendu un Bach aussi près du texte et pourtant si libre, sidérant d’aisance dans les pages brillantes et débordant de tendresse dans les adagios.

L'Adagio non molto de la Sonate en si mineur résume le propos : la mélancolie tente de s'étourdir dans une feinte agitation, les silhouettes de Fiordiligi ou de la Comtesse se dessinent sous nos yeux. L’instrument (d’après Mietke) est particulièrement intéressant. Il combine les traditionnelles vertus de la facture allemande (timbre luthé, aigu merveilleusement vocal) et un registre médium d'une richesse expressive dont Esfahani joue en expert' (Diapason, France)» More

PERFORMANCE
PERFORMANCE
In the first movement of the Sonata in E minor Bach plays upon the listener’s expectations of the behaviour and role meant to be played by a ‘principal theme’. What is the main theme of this movement? The bizarrely jagged gestures of the first five bars? Or the strings of repeated quavers, with arabesques imitated between the two hands, and relentless sighs that follow? Must a movement even have a definable principal theme? This ambiguous sense of motivic papillonnage is further explored in the middle Adagio in which the opening four-bar theme is ingeniously extended through an exploration of the contrasting colours afforded by the harpsichord’s two manuals. There follows a beautifully wrought Vivace in 3/8 time. More than any other movement in the Württemberg set, this movement calls upon the German manner of virtually carving melodies out of hard stone, in contrast to the light pastels and varied brushstrokes of Italian and French music. This is a dance of death, a true Totentanz of the Enlightenment, portraying a restless dancer accompanied by the most sinister Greek chorus of antiquity. Each half of the movement gives way to a fleet coda in which each semiquaver is possessed by a diabolical delight in the dissonant and the bizarre.

from notes by Mahan Esfahani © 2014

Dans le premier mouvement de la Sonate en mi mineur, Bach joue sur ce qu’un auditeur attend d’un «thème principal» (son comportement, son rôle). Quel est-il donc ici? Les gestes singulièrement irréguliers des cinq premières mesures? Ou bien les kyrielles de croches répétées, avec des arabesques imitées entre les deux mains, et les incessants soupirs qui suivent? Un mouvement doit-il même avoir un thème principal définissable? Cette sensation ambiguë de papillonnage motivique est sondée plus avant dans l’Adagio central, où le thème inaugural de quatre mesures est ingénieusement prolongé via l’exploration des couleurs contrastives offertes par les deux manuels du clavecin. Arrive alors un Vivace à 3/8 merveilleusement ciselé. Plus que tout autre mouvement du corpus württembergeois, celui-ci fait appel à la manière qu’ont les Allemands de tailler les mélodies dans la pierre dure, en total contraste avec les pastels clairs et les traits de pinceau variés des musiques italienne et française. C’est une danse de la mort, une véritable Totentanz du siècle des lumières, portrait d’un danseur nerveux accompagné du plus sinistre chœur grec de toute l’antiquité. Chaque moitié de mouvement cède la place à une coda véloce, où la moindre double croche se complaît diaboliquement dans le dissonant et le bizarre.

extrait des notes rédigées par Mahan Esfahani © 2014
Français: Hypérion

Im ersten Satz der Sonate in e-Moll spielt Bach mit den Erwartungen des Hörers, was das Verhalten und die Rolle des „Hauptthemas“ anbelangt. Was ist das Hauptthema dieses Satzes? Die seltsam gezackten Gesten der ersten fünf Takte? Oder die Gruppen mit wiederholten Achtelnoten, wobei Arabesken zwischen den beiden Händen imitiert werden, auf die unnachgiebige Seufzer folgen? Muss ein Satz überhaupt ein definierbares Hauptthema haben? Dieses mehrdeutige Hin- und Herflattern wird im Mittelsatz, ein Adagio, fortgeführt, dessen viertaktiges Anfangsthema in raffinierter Weise durch das Verarbeiten gegensätzlicher Klangfarben, die über die beiden Manuale des Cembalos erzeugt werden, ausgedehnt wird. Darauf folgt ein wunderschön gearbeitetes Vivace im Dreiachteltakt. Noch deutlich mehr als die anderen Sätze aus der Württembergischen Sammlung ist dieser gemäß der deutschen Technik gefertigt, bei der die Melodien sozusagen aus Stein herausgemeißelt werden, was im Gegensatz zu den hellen Pastellfarben und unterschiedlichen Pinselstrichen der italienischen und französischen Musik steht. Hierbei handelt es sich um einen wahren aufklärerischen Totentanz, in dem ein ruheloser Tänzer von einem besonders sinistren antiken griechischen Chor begleitet wird. Beide Hälften des Satzes werden jeweils von einer flinken Coda abgeschlossen, wobei jede Sechzehntel von einer teuflischen Freude am Dissonanten und Bizarren besessen ist.

aus dem Begleittext von Mahan Esfahani © 2014
Deutsch: Viola Scheffel

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