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Track(s) taken from CDA67109

String Quartet in B flat major, Op 44 No 2

composer
1804

Salomon Quartet
Recording details: March 1999
St Michael's Church, Highgate, London, United Kingdom
Produced by Arthur Johnson
Engineered by Antony Howell & Julian Millard
Release date: November 2000
Total duration: 22 minutes 9 seconds
 
1
Allegro moderato  [10'27]
2
Adagio non tanto  [6'04]
3
Allegretto  [5'38]

Reviews

'The performances are superb, with neat, exciting playing … this disc cannot be recommended too highly' (Early Music Review)

'I enjoyed this release: it is quite a treat for the curious listener' (International Record Review)

‘Sheer delight. Anyone who enjoys Haydn should find himself happily at home in these works’ (Crisis, USA)
In the String Quartet in B flat major Op 44 No 2, in three movements, Gyrowetz is closer to Schubert than Haydn, especially in the first movement, indulging more in his tendency for unusual key changes and harmonic shifts, closer textures and more lyrical thematic material. The peace of the F major central slow movement is broken by the more dramatic mood of the central section in F minor. Gyrowetz returns to Classical roots for the jolly finale with its occasional attempt at Haydnesque humour.

from notes by Graham Melville-Mason © 2000

Dans le Quatuor à cordes en si bémol majeur op. 44 no 2, en trois mouvements, Gyrowetz se rapproche davantage de Schubert que de Haydn, surtout dans le premier mouvement, où il se laisse plus aller à son goût pour les changements inhabituels de tonalité et les transitions harmoniques, les textures resserrées et le matériau thématique plus lyrique. La paix du mouvement lent central en fa majeur est rompue par l’atmosphère davantage dramatique de la section centrale en fa mineur. Pour le finale joyeux, Gyrowetz revient aux racines classiques, avec d’occasionnelles tentatives d’humour haydnesque.

extrait des notes rédigées par Graham Melville-Mason © 2000
Français: Hypérion

Das Quartett Op. 44 Nr. 2 (in drei Sätzen) steht Schubert näher als Haydn; besonders im ersten Satz fröhnt Gyrowetz seiner Neigung zu ungewöhnlichen Tonart- und Harmoniewechseln, dichteren Strukturen und lyrischerem Themenmaterial. Der Frieden des langsamen Binnensatzes in F-Dur wird durch die dramatischere Stimmung des zentralen Abschnitts in f-Moll gebrochen. Für das muntere Finale mit gelegentlichen Bemühungen um Haydnschen Humor kehrt Gyrowetz zu den Grundprinzipien der Klassik zurück.

aus dem Begleittext von Graham Melville-Mason © 2000
Deutsch: Anne Steeb/Bernd Müller

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