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Hyperion Records

Click cover art to view larger version
Front illustration by Roland Piper (b?)
Track(s) taken from CDH55454
Recording details: April 2001
Henry Wood Hall, London, United Kingdom
Produced by Amanda Hurton
Engineered by Tony Faulkner
Release date: June 2002
Total duration: 6 minutes 22 seconds

'Musically enchanting fare … everything is played with unfaltering command … the recording and presentation are immaculate' (Gramophone)

'Inspired re-creations … strongly recommended to connoisseur and newcomer alike … Grainger's eclectic, idiosyncratic piano transcriptions, despatched with light-fingered clarity. Strauss swoons, Stephen Foster's all of a tingle. Excellent notes, too' (BBC Music Magazine)

'A delight from start to finish' (The Observer)

'Beautiful tone and colours … playing of real beauty in the two exquisite Fauré arrangements' (International Record Review)

'Salon esprit without sentimentality and with a touch of humor and poetry: what more could one ask from this music?' (American Record Guide)

'Heroic stamina by Piers Lane' (The Times)

'A charming recital, beautifully played and recorded' (Classic FM Magazine)

'Lane boasts a fabulous technique … succulent performances' (Fanfare, USA)

'A fine selection … an easy listen that often delights the ear' (Pianist)

'This disc moves into the fruitful territory of Percy Grainger’s piano transcriptions, allowing Piers Lane to indulge in flights of virtuosic fantasy and reveal the emotional breadth of these works' (Music Week)

‘Piers Lane rises to this repertoire’s not-inconsiderable challenges in a judiciously programmed and brilliantly executed recital’ (

'It is one of those CDs where surprise comes on surprise. Great fun' (Essex Chronicle)

‘Piers Lane concilie le panache avec une sensibilité très vive’ (Diapason, France)

'Le pianiste joue franc jeu et rend un bel hommage au compositeur' (Le Monde de la Musique, France)

Handelian Rhapsody
circa 1901; Piano Sonata in D major, Op 17; composed for Grainger

Introduction  EnglishFrançaisDeutsch
Grainger first met Cyril Scott (1879–1970) during his student years at Dr Hoch’s Conservatorium in Frankfurt, being introduced to him by a member of the Klimsch family. Their initial meeting was cool, but they soon warmed to each other and were to remain friends for nearly seven decades. Grainger was the younger of the two by three years, and welcomed Scott’s attention to his new compositions, often performing them in Scott’s rooms at the conservatory. The Handelian Rhapsody stems from an early one-movement Piano Sonata in D major, Op 17, that Scott had written for Grainger around 1901. The work appealed to Grainger owing to its clanging, bell-like sounds, but Scott felt it to be immature and had more or less discarded it when Grainger urged the composer to allow him to ‘take the knife to it’. He produced a new recension under Grainger’s editorship, which he later described as being not unlike a Brahms rhapsody. The title came about through Grainger’s contention that Handel had at times exercised a certain influence on Scott’s music.

from notes by Barry Peter Ould © 2002

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