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Hyperion Records

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The Balloon (detail) (1899) by Felix Vallotton (1865-1925)
Musée d'Orsay, Paris / Bridgeman Art Library, London
Track(s) taken from CDH55379
Recording details: May 2003
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: February 2004
Total duration: 20 minutes 6 seconds

'This is Hyperion at its best—backing a new, imaginative group in little-known, high-quality repertoire with its customary standards of presentation and recording. C'est tout aimable, génial—and heartily recommended' (BBC Music Magazine)

'A highly rewarding and beautifully recorded recital' (International Record Review)

'An immaculately engineered disc' (The Strad)

'I cannot recommend this disc too highly. Whether you already know Reynaldo Hahn or not, you're in for a real treat' (Fanfare, USA)

'Les quatre interprètes jouent Reynaldo Hahn avec le naturel, l'élégance et la plus fine musicalité qu'on attend dans ces oeuvres dont le charme ne s'épuise pas' (Le Monde de la Musique, France)

Sonata for violin and piano in C major
composer
1926

Véloce  [3'07]

Introduction  EnglishFrançaisDeutsch
The sound world of the C major Violin Sonata of 1926 assuredly visits the Fauré of fifty years earlier, the opening movement’s easy lyricism and textural transparency bearing a kinship with the elder French musician’s A major Sonata of 1877. Structurally set in a traditional sonata form, both of the themes of the opening movement (Sans lenteur, tendrement) are imbued with Gallic restraint and supple expressivity. The second movement, Véloce (in ternary form with a harp-like central portion), skits across its scherzo terrain with lucidity and no little verve, and an unusual concluding Modéré movement (marked très à l’aise, au gré de l’interprète) is for the most part gentle, melancholic and nostalgic. Such sorrowfulness is broken only by the urgency of a central (interrupted) climax and then (following a wonderfully hypnotic moment of harmonic ‘questioning’) by a foreshortened reprise of the sonata’s opening as the dark clouds of nostalgic longing are dispersed.

from notes by Jeremy Filsell © 2004

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