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Passacaglia in C minor, BWV582

composer
arranger

 
Catoire’s music is notable for its delicacy and harmonic refinement but, when faced with Bach’s mighty Passacaglia, he too adopts the epic style. In Eugen d’Albert’s better known transcription the music grows from a contained and dignified opening, but Catoire unleashes the mighty roar of the romantic instrument from the start (fortissimo pesante) and he is concerned throughout with the picturesque characterization of each individual variation through changes of texture and register. His determination, at the same time, that not one note of Bach’s should be lost in the process puts merciless demands on the performer.

from notes by Hamish Milne © 2005

La musique de Catoire vaut surtout par sa délicatesse et son raffinement harmonique, même si, confronté à la puissante Passacaille de Bach, il adopte, lui aussi, le style épique. Là où Eugène d’Albert, dans une transcription plus célèbre, fait croître la musique à partir d’un début contenu et digne, Catoire, lui, déclenche d’emblée le puissant rugissement de l’instrument romantique (fortissimo pesante) et se soucie constamment de caractériser avec pittoresque chaque variation, grâce à des changements de texture et de registre. Dans le même temps, sa détermination à ne perdre aucune note de Bach fait peser sur l’interprète d’impitoyables exigences.

extrait des notes rédigées par Hamish Milne © 2005
Français: Hypérion

Werke von Catoire sind bekannt für ihre Zierlichkeit und harmonische Feinheit, doch angesichts Bachs mächtiger Passacaglia nahm auch er den epischen Stil an. In der bekannteren Transkription von Eugen d’Albert bildet eine würdevolle, feierliche Geste den Anfang, die zum Ausgangspunkt eines stetigen Anwachsens der Musik wird. Catoire jedoch löst sofort einen gewaltigen Ausbruch des romantischen Instruments aus (fortissimo pesante) und konzentriert sich dann darauf, jede einzelne Variation mit Hilfe von verschiedenen Registern und Texturen auf besonders ausdrucksvolle Art und Weise zu charakterisieren. Gleichzeitig ist er sehr darauf bedacht, dass nicht eine Note Bachs verloren gehen möge, was gnadenlose Ansprüche an den Ausführenden stellt.

aus dem Begleittext von Hamish Milne © 2005
Deutsch: Viola Scheffel

Recordings

Bach: Organ Music
Studio Master: SIGCD261Download onlyStudio Master FLAC & ALAC downloads available
Bach: Toccatas and Fugues
CDA66434
Bach: Toccatas and Fugues
CDA30004Hyperion 30th Anniversary series
Bach Arrangements
CDA67309
Bach: Piano Transcriptions, Vol. 5 – Goedicke, Kabalevsky, Catoire & Siloti
CDA67506
Bach: Piano Transcriptions, Vol. 8 – Eugen d'Albert
CDA67709
Bach: The Complete Organ Works
CDS44121/3616CDs Boxed set (at a special price) — Deleted

Details

Track 16 on CDA67309 [11'45]
Track 11 on CDA67506 [12'54]
Track 1 on CDA67709 [10'49]
Movement 1: Passacaglia
Track 10 on CDA30004 [7'30] Hyperion 30th Anniversary series
Track 10 on CDA66434 [7'30]
Track 14 on SIGCD261 [7'24] Download only
Track 10 on CDS44121/36 CD4 [7'30] 16CDs Boxed set (at a special price) — Deleted
Movement 2: Fugue
Track 11 on CDA30004 [5'39] Hyperion 30th Anniversary series
Track 11 on CDA66434 [5'39]
Track 15 on SIGCD261 [5'46] Download only
Track 11 on CDS44121/36 CD4 [5'39] 16CDs Boxed set (at a special price) — Deleted

Track-specific metadata for CDA67506 track 11

Artists
ISRC
GB-AJY-05-50611
Duration
12'54
Recording date
3 October 2004
Recording venue
Henry Wood Hall, London, United Kingdom
Recording producer
Jeremy Hayes
Recording engineer
Tony Faulkner
Hyperion usage
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