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Partita No 1 in B minor, BWV1002

composer
1720; Cöthen

 
The sonatas and partitas for solo violin and the suites for solo cello show how detailed was Bach’s knowledge of the possibilities of these instruments, and how far the inherent expressive and virtuoso qualities could be stretched. With just the single solo line available the contrapuntal and harmonic structure could for the most part only be implied, but Bach’s genius endowed these pieces with such depth and substance that they are totally satisfying and complete. Nevertheless, realising the implied harmonies and counterpoint offers the transcriber unlimited opportunities for invention. Notable examples must also include Rachmaninov’s transcription of the Prelude, Gavotte and Gigue from the above Partita in E, and Busoni’s majestic arrangement of the Chaconne from the D minor Partita.

from notes by Piers Lane © 2003

Les Sonates et Partitas pour violon seul ainsi que les Suites pour violoncelle seul illustrent à merveille la connaissance poussée du potentiel de ces instruments que Bach possédait, ainsi que l’étendue de leurs qualités expressives et virtuoses propres. Aidée par une seule ligne soliste, Bach réalisa une structure contrapuntique et harmonique qui ne pouvait être que sous-entendue la plupart du temps. Son génie a pourtant conféré à ces pièces une profondeur et une substance telles qu’elles sont totalement abouties et procurent une satisfaction sans égale. Néanmoins, la pleine réalisation des harmonies et contrepoints qui étaient sous-entendus permet au transcripteur du puiser dans un réservoir illimité d’inventions. Les exemples les plus fameux à cet égard sont notamment la transcription que Rachmaninov réalisa des Prélude, Gavotte et Gigue de la Partita en mi majeur et l’arrangement majestueux de Busoni de la Chaconne tirée de la Partita en ré mineur.

extrait des notes rédigées par Piers Lane © 2003
Français: Isabelle Battioni

Die Sonaten und Partiten für Solovioline und die Suiten für Solocello demonstrieren Bachs genaue Kenntnis der Möglichkeiten dieser Instrumente und inwieweit die ihnen eigenen expressiven und virtuosen Qualitäten gestreckt werden konnten. Da lediglich die eine Solostimme zur Verfügung stand, konnten die kontrapunktischen und harmonischen Strukturen zum größten Teil nur angedeutet werden. Bachs Genie verlieh diesen Stücken jedoch eine solche Tiefe und Substanz, dass sie absolut befriedigend und vollständig sind. Das Erkennen der angedeuteten Harmonien und Kontrapunktik bietet dem Arrangeur jedoch grenzenlose Möglichkeiten, die Stücke nachzuschöpfen. An dieser Stelle müssen auch Rachmaninovs Transkription des Preludes, der Gavotte und der Gigue aus der oben genannten Partita in E-Dur sowie Busonis majestätische Bearbeitung der Chaconne aus der Partita in d-Moll genannt werden.

aus dem Begleittext von Piers Lane © 2003
Deutsch: Viola Scheffel

Recordings

Bach: Sonatas and Partitas for solo violin
CDA67691/22CDs
Bach: Sonatas and Partitas for solo violin
CDD220092CDs Dyad (2 for the price of 1) — Archive Service
Bach: Sonatas and Partitas for solo violin
Studio Master: CKD366Download onlyStudio Master FLAC & ALAC downloads available
Bach Transcribed
Studio Master: SIGCD156Download onlyStudio Master FLAC & ALAC downloads available
Bach: Piano Transcriptions, Vol. 3 – Friedman, Grainger & Murdoch
CDA67344
Bach: Piano Transcriptions, Vol. 10 – Saint-Saëns & Philipp
CDA67873

Details

Movement 1: Allemanda
Track 5 on CDA67691/2 CD1 [5'11] 2CDs
Track 5 on CDD22009 CD1 [4'40] 2CDs Dyad (2 for the price of 1) — Archive Service
Track 1 on CKD366 CD2 [5'51] Download only
Movement 2: Double
Track 6 on CDA67691/2 CD1 [2'27] 2CDs
Track 6 on CDD22009 CD1 [2'10] 2CDs Dyad (2 for the price of 1) — Archive Service
Track 2 on CKD366 CD2 [2'43] Download only
Movement 3: Corrente
Track 7 on CDA67691/2 CD1 [3'27] 2CDs
Track 7 on CDD22009 CD1 [3'08] 2CDs Dyad (2 for the price of 1) — Archive Service
Track 3 on CKD366 CD2 [3'47] Download only
Movement 4: Double
Track 8 on CDA67691/2 CD1 [3'18] 2CDs
Track 8 on CDD22009 CD1 [3'07] 2CDs Dyad (2 for the price of 1) — Archive Service
Track 4 on CKD366 CD2 [4'11] Download only
Movement 5: Sarabande
Track 9 on CDA67691/2 CD1 [3'36] 2CDs
Track 9 on CDD22009 CD1 [3'20] 2CDs Dyad (2 for the price of 1) — Archive Service
Track 5 on CKD366 CD2 [3'55] Download only
Movement 6: Double
Track 10 on CDA67691/2 CD1 [3'34] 2CDs
Track 10 on CDD22009 CD1 [2'41] 2CDs Dyad (2 for the price of 1) — Archive Service
Track 6 on CKD366 CD2 [2'44] Download only
Movement 7: Bourrée
arranger

Track 10 on CDA67344 [2'08]
arranger
dedicated to Adam Laussel; published in 1862 by Flaxland

Track 4 on CDA67873 [3'09]
Track 7 on SIGCD156 [3'19] Download only
Movement 7: Tempo di borea
Track 11 on CDA67691/2 CD1 [3'18] 2CDs
Track 11 on CDD22009 CD1 [2'14] 2CDs Dyad (2 for the price of 1) — Archive Service
Track 7 on CKD366 CD2 [3'36] Download only
Movement 8: Double
Track 12 on CDA67691/2 CD1 [3'08] 2CDs
Track 12 on CDD22009 CD1 [2'05] 2CDs Dyad (2 for the price of 1) — Archive Service
Track 8 on CKD366 CD2 [3'37] Download only

Track-specific metadata for CDA67344 track 10

Movement 7: Bourrée
Artists
ISRC
GB-AJY-03-34410
Duration
2'08
Recording date
6 May 2002
Recording venue
Henry Wood Hall, London, United Kingdom
Recording producer
Amanda Hurton
Recording engineer
Arne Akselberg
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