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Track(s) taken from APR6009

Scherzo No 3 in C sharp minor, Op 39

composer
1839, begun in Majorca, completed in Nohant; dedicated to Adolf Gutmann

Jorge Bolet (piano)
Recording details: January 1953
Remington, USA
Release date: November 2011
Total duration: 7 minutes 20 seconds
 
The Remington LPs
1
Scherzo No 3 in C sharp minor Op 39  [7'20]  recorded 1953

Other recordings available for download

Stephen Hough (piano)
Garrick Ohlsson (piano)
Nikolai Demidenko (piano)
Simon Barere (piano)
Simon Barere (piano)
Simon Barere (piano)
Dissonance is again at the heart of the Third Scherzo, and even today the opening octaves can seem harshly novel and uncompromising. The principle theme was inspired by Adolf Gutmann, Chopin’s pupil who could – with a taste of karate – apparently punch a hole in a table. The contrasting chorale with its cascading reply may well echo a liturgical chant heard at the monastery in Valdemosa (where Chopin was a guest in 1842) and its final transformation and expansion in the coda is among Chopin’s most daring masterstrokes.

from notes by Bryce Morrison © 2004

La dissonance est à nouveau au cœur du Troisième Scherzo, et même de nos jours, les octaves initiales donnent l’impression d’une nouveauté dure et intransigeante. Le thème principal s’est inspiré d’Adolf Gutmann, un élève de Chopin qui parvenait apparemment à transpercer le bois des tables à main nue – un avant-goût du karaté. Le choral contrasté, avec ses réponses en cascades, pourrait être un écho d’un chant liturgique entendu au monastère de Valdemosa (où Chopin avait séjourné en 1842). Ses transformations et expansions finales dans la coda font partie des coups de génie les plus audacieux de Chopin.

extrait des notes rédigées par Bryce Morrison © 2004
Français: Isabelle Battioni

Die Dissonanzen spielen auch im Dritten Scherzo eine zentrale Rolle und auch heute können die Oktaven am Anfang des Stückes noch schroff, modern und unerbittlich klingen. Die Inspiration zu dem Hauptthema lieferte Adolf Gutmann, ein Schüler Chopins, der anscheinend – in Vorwegnahme von Karate – ein Loch in einen Tisch hauen konnte. Der kontrastierend angelegte Choral mit einer abwärts gerichteten Antwort könnte eine Nachahmung des liturgischen Gesangs sein, den Chopin 1842 in einem Kloster in Valdemosa zu hören bekam, und seine letzte Verwandlung und Ausdehnung in die Coda hinein gehört zu den kühnsten Meisterleistungen Chopins.

aus dem Begleittext von Bryce Morrison © 2004
Deutsch: Viola Scheffel

Other albums featuring this work

Simon Barere – His celebrated live recordings at Carnegie Hall, Vol. 4 – 1949
APR5624Download only
Simon Barere – His celebrated live recordings at Carnegie Hall, Vol. 5 – Rachmaninov's Piano Concerto No 2 & appendices
APR5625Download only
Simon Barere – The complete HMV recordings 1934–1936
APR6002for the price of 1 — Download only
Chopin: Four Ballades & Four Scherzos
Studio Master: CDA67456Studio Master FLAC & ALAC downloads available
Chopin: The Complete Works
CDS44351/6616CDs Boxed set (at a special price)
Chopin: The Four Scherzi
CDH55181
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