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.

Passacaglia in C minor, BWV582


To 19th century middle-Europe Bach was the Parnassus, the ‘pictorial musician-poet’, of the age. Worshipped by Beethoven (1801)—‘first father of harmony’. Monumentalised by Weber (1821)—‘a Gothic cathedral dedicated to the arts’. Deified by Schumann (1840)—‘unapproachable, unfathomable’. The Bach Awakening was a peculiarly German/Anglo-Saxon affair. It elevated one man’s genius. It gave the Baroque Romantic pertinence. It made History acceptable to programme. Sailing by the flag of German fugue, Mendelssohn the conductor, Liszt the pianist, led the way, promulgating Bachian aesthetic for the common good. Bach’s keyboard output spanned his life. Music for private, public or pedagogical use, universally destined if at the outset confined to the locale of his appointments—for ‘Bach and his fellow organists and cantors belonged to a closed society [not to the “larger world” of the “great centres of Europe”] His reputation as an organist was widespread, but it was a provincial fame, far removed from the European reputation that Handel enjoyed’ (Max Graf, Composer and Critic, 1947). The organ works comprise chorale settings plus preludes, fugues, trio sonatas, duetti, fantasias, toccatas and arrangements—mostly from the secular years pre Leipzig and duties at the Thomaskirche. The 292-bar Passacaglia in C minor towers among the most regal and visionary. If, as widely assumed, it was written in Arnstadt or Mühlhausen where Bach was organist (1703-08)—the period when he walked to Lübeck to hear Buxtehude play—then, astonishingly, it’s the statement, the profundity, of a young man still in his late teens/early twenties. In the typical passacaglia style of the day, the music presents a set of continuous variations on a repeating basso ostinato (an eight-bar triple-time ground initially unaccompanied on pedals) and the harmonic logic implicit within its contour. Notated with a key-signature of two rather than three flats (following baroque convention), and without tempo indication (save the adagio of the last two bars), the ebb and flow is dictated by quickening or slowing note-values within a constant pulse. Re-aligning precedent and procedure to consolidate the model championed by Beethoven and Brahms, Bach significantly doesn’t confine his ostinato to only the bass register; nor does he adhere routinely to its short-long iambic metre—modifying the rhythm as early as bar 40, using semiquaver couplets and rests to break-up the legato phrasing. In 88/89ff he transfers the melody to the upper voice; similarly in 168/69ff where, marked Thema fugatum, it becomes the subject of a four-part fugue (ASBT exposition). Elsewhere he arpeggiates the chordal scheme, sketching a chaconne-style toccata progression on the manuals, 120/21ff. Transmoding, transposing or adapting the ground into other keys (fugue, 197/98ff) is also ventured. All devices, he would have claimed, designed to create ‘a well-sounding harmony to the Glory of God’ (courtesy of Friedrich Niedt).

from notes by Ates Orga 2007


Bach: Organ Music
Studio Master: SIGCD261Download onlyStudio Master FLAC & ALAC downloads available
Bach: Toccatas and Fugues
CDA30004Hyperion 30th Anniversary series
Bach: Toccatas and Fugues
Bach Arrangements
Bach: Piano Transcriptions, Vol. 5 - Goedicke, Kabalevsky, Catoire & Siloti
Bach: Piano Transcriptions, Vol. 8 - Eugen d'Albert
The Organ of Buckingham Palace Ballroom
SIGCD114Download only
Bach: The Complete Organ Works
CDS44121/3616CDs Boxed set (at a special price) — Deleted


Track 16 on CDA67309 [11'45]
Track 11 on CDA67506 [12'54]
Track 1 on CDA67709 [10'49]
Track 1 on SIGCD114 [13'47] Download only
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 CDA66434 track 11

Recording date
8 May 1990
Recording venue
Stadtkirche, Zofingen, Switzerland
Recording producer
Paul Spicer
Recording engineer
Paul Niederberger
Hyperion usage
  1. Bach: Toccatas and Fugues (CDA30004)
    Disc 1 Track 11
    Release date: October 2010
    Hyperion 30th Anniversary series
  2. Bach: Toccatas and Fugues (CDA66434)
    Disc 1 Track 11
    Release date: December 1990
  3. Bach: The Complete Organ Works (CDS44121/36)
    Disc 4 Track 11
    Release date: October 2002
    Deletion date: March 2009
    16CDs Boxed set (at a special price) Deleted
Waiting for content to load...
Waiting for content to load...