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.

Click cover art to view larger version
Track(s) taken from CDS44351/66

Grand Duo in E major on themes from Meyerbeer's Robert le Diable, KKIIb/1

1831; composed in collaboration with Auguste Franchomme
1831; in collaboration with Chopin

Carter Brey (cello), Garrick Ohlsson (piano)
Recording details: July 2000
Performing Arts Center, Purchase College, State University of New York, USA
Produced by Adam Abeshouse
Engineered by Adam Abeshouse
Release date: November 2008
Total duration: 14 minutes 19 seconds

Cover artwork: Frédéric Chopin in concert at the Hotel Lambert, Paris (1840) by Antar Teofil Kwiatowski (1809-1891)
Bibliothèque Polonaise, Paris / Archives Charmet / Bridgeman Art Library, London


'Hyperion's big deal … Ohlsson is a powerful and committed player, and is afforded very good sound by the engineers … this is almost certainly how these pieces were played in Chopin's time' (The Mail on Sunday)

'This is an oustanding achievement, which any genuine Chopin lover and student of Romantic music should own … a landmark in the recording of Chopin's music … Garrick Ohlsson and Hyperion deserve the greatest success in bringing this important undertaking to such a consistently impressive conclusion' (International Record Review)

'An attractively priced box set … Ohlsson is in a class of his own' (Pianist)

'The collaborative works receive particularly rewarding performances … Ohlsson arguably offers more consistent artistry than Biret, Ashkenazy, Magaloff, and Harasiewicz' (Classics Today)

'Garrick Ohlsson’s complete survey of everything Chopin wrote for piano (including chamber music, songs, and for piano and orchestra) will delight the completist and the Chopin connoisseur. Ohlsson (who won the Chopin International Piano Competition in 1970) gives us accounts of this wondrous repertoire in weighty and commanding style, aristocratic and impulsive (but not lacking light and shade or contemplative contrasts) and, at times, very sensitive and searching. These vivid recordings were made in the second half of the 1990s and have previously appeared on the Arabesque label. They now sit very well in Hyperion’s catalogue' (Classical Source)
Meyerbeer’s Robert le Diable had a sensational premiere in Paris on 21 November 1831. Set in thirteenth-century Sicily, the libretto, ‘in which the grotesque is carried to the point of absurdity’ (Kobbé), was saved by Meyerbeer’s brilliant score, and the work made a fortune for the Paris Opéra. Its themes attracted dozens of composers including Thalberg, Kalkbrenner, Herz and Liszt. Chopin was commissioned by his publisher Schlesinger to write this potpourri, a brilliant display piece of the kind that was so popular in the Parisian salons of the time. After the piano’s Largo introduction, among the themes used are the Romanza and the chorus ‘Non pietà’ from Act 1, and ‘Le mie cure ancor dei cielo’ (Act 5). Composed in 1831, it is one of only four Chopin works published in his lifetime without an opus number and the only one to be composed in collaboration, in this case with his friend the cellist August Franchomme.

from notes by Jeremy Nicholas © 2010

Le Robert le Diable de Meyerbeer connut une première sensationnelle à Paris, le 21 novembre 1831. Planté dans la Sicile du XIIIe siècle, le livret, «dans lequel le grotesque est poussé à l’absurdité» (Kobbé), fut sauvé par la brillante partition de Meyerbeer et l’œuvre fit la fortune du Grand Opéra. Ses thèmes attirèrent des dizaines de compositeurs, dont Thalberg, Kalkbrenner, Herz et Liszt. Commande de Schlesinger, l’éditeur de Chopin, ce pot-pourri est un brillant morceau de démonstration, de ceux qui faisaient alors les beaux jours des salons parisiens. Passé l’introduction pianistique Largo, la Romanza et le chœur «Non pietà» (Acte I) figurent parmi les thèmes utilisés, tout comme «Le mie cure ancor dei cielo» (Acte V). Composée en 1831, cette pièce est l’une des quatre partitions publiées sans numéro d’opus du vivant de Chopin, qui signe là sa seule musique écrite en collaboration—avec, en l’occurrence, son ami violoncelliste Auguste Franchomme.

extrait des notes rédigées par Jeremy Nicholas © 2010
Français: Hypérion

Meyerbeers Robert le Diable, die im Sizilien des 13. Jahrhunderts spielt, hatte am 21. November 1831 in Paris eine sensationelle Premiere. Das Libretto, „in dem das Groteske bis ins Absurde getrieben wird“ (Kobbé), wurde durch Meyerbeers brillante Vertonung gerettet, und das Werk spielte schließlich der Pariser Oper ein Vermögen ein. Die Themen wurden von Dutzenden von Komponisten verarbeitet, darunter Thalberg, Kalkbrenner, Herz und Liszt. Chopin wurde von seinem Verleger Schlesinger beauftragt, dieses Potpourri zu schreiben, eines der brillanten Virtuosenstücke, wie sie in den Pariser Salons damals so populär waren. Nach der Largo-Einleitung des Klaviers werden u.a. als Themen die Romanza, der Chor „Non pietà“ aus dem 1. Akt und „Le mie cure ancor dei cielo“ aus dem 5. Akt verwendet. Das Stück entstand 1831 und ist eines von nur vier Werken, die zu Lebzeiten Chopins ohne Opusnummer erschienen. Außerdem ist es das einzige, das in Zusammenarbeit entstand, in diesem Fall mit seinem Freund, dem Cellisten August Franchomme.

aus dem Begleittext von Jeremy Nicholas © 2010
Deutsch: Ludwig Madlener

Other albums featuring this work

Chopin: Chamber Music
CDH55384Last few CD copies remaining
Waiting for content to load...
Waiting for content to load...