Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.
Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.
Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.
This proved prophetic. Franck was delighted and credited his success to Diémer’s brilliant playing—sec, léger, and articulated with lightning precision—which he promised to reward with ‘a little something’. Good to his word, Franck dedicated his orchestration of the Variations symphoniques to Diémer. He began work in the summer of 1885, and completed it on 12th December. In his ultimate, old master phase, Franck transformed everything he touched. The orchestral highlighting of pianistic virtuosity—heard in such works of his youth as the Variations brillantes sur l’air du Pré aux clercs (1834) or the Variations brillantes sur le ronde favorite de Gustave III (1834–35)—or the Lisztian heroics of the soloist locked in combat with the orchestra are left behind in the Variations symphoniques in favour of the deft dovetailing of piano and orchestra. This use of the piano as a concertante instrument would be taken up by Vincent d’Indy in his Symphonie sur un chant montagnard français (1886) and in turn, be adopted as far afield as Ferruccio Busoni’s massive five-movement Piano Concerto (1904).
The strings open with a menacing dotted figure in unison, answered by the piano with a plaintively drooping phrase whose dialogue gives way to a second theme introduced by pizzicato woodwinds and strings. An appassionato development leads shortly to six seamless variations on the second theme through which the piano decorates, comments, alludes, and accompanies, as the mood shifts from triumphant assertion to mystical absorption and languishing, muted sighs. A sudden trill in both hands, two octaves apart, prompts the orchestra to begin the extensive, rhapsodic finale in which the thematic material of the preceding is wrought to an incandescent apotheosis. Without doubt, the irresistible, surefire breeziness of this finish has insured the Variations symphoniques first place in popularity among Franck’s works.
Curiously, the premiere, at the annual orchestral concert of the Société Nationale de Musique, May 1, 1886, with Diémer at the piano, passed almost without mention. At the second performance, an all-Franck concert on January 30 of the following year—again featuring Diémer—the surefire misfired as the aging conductor, Jules Pasdeloup, miscued the orchestra’s entrance.
from notes by Malcolm MacDonald © 2013
|Arthur de Greef – Solo and concerto recordings|
Belgian pianist Arthur de Greef studied with Franz Liszt and also became a close friend of Grieg, who strongly admired his playing. He was a mainstay of the HMV catalogue in the 1920s and this set brings together for the first time his complete re ...» More
|Moura Lympany – The HMV Recordings, 1947-1952|
Moura Lympany (1916-2005) was the last of the major Matthay pupils and she started working with him in 1937 when he was already 79. In 1938 she shot to international fame when she came second to Emil Gilels in the Queen Elisabeth competition. A br ...» More
|Myra Hess – The complete solo and concerto studio recordings|
|Saint-Saëns, Goss & Franck: Piano Concertos|
Emmanuel Despax is a rising star on the UK and international piano scene; this debut concerto recording features the premiere recording of Stephen Goss’s Piano Concerto, Saint-Saëns’ ever-popular Piano Concerto No 2 and Franck’s Variations symp ...» More