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 CDA67738

Piano Sonata in A major, Op 33 No 1


Howard Shelley (piano)
Recording details: February 2009
St Silas the Martyr, Kentish Town, London, United Kingdom
Produced by Annabel Connellan
Engineered by Ben Connellan
Release date: October 2009
Total duration: 8 minutes 58 seconds

Cover artwork: Landscape with Roman Ruins by Giovanni Paolo Panini (1691-1765)
Hamburger Kunsthalle, Germany / Bridgeman Art Library, London


'Shelley, who adds to unfailing textural clarity, sensitivity of phrasing and fine touch a willingness to seek out what is meaningful in this music and realise it to a degree that might have surprised even its composer' (Gramophone)

'Beautifully flexible playing … Shelley is a first-rate advocate, with passage-work of crystalline clarity, light-footed pedalling, and communicating a sense of deep commitment to this unjustly under-rated repertoire. The sound … could not be better. Unreservedly recommended' (BBC Music Magazine)

'There is huge variety and pianistic invention … Shelley brings energy, vitality and clarity to the sparse textures of a work [Op 25 No 5] which owes much to Scarlatti … stunning recording quality, exemplary programme notes by the leading authority on Clementi, two discs for the price of one and generous playing time on each, and piano playing of the first order from Howard Shelley' (International Record Review)
The first sonata of Op 33, in A major—often a good key for Clementi—is a compact, lucid piece with a modest harmonic vocabulary and a transparent texture reminiscent, once again, of Haydn. The opening theme of the first movement begins with elegant Haydnesque rhythmic ambiguity as a three-beat anacrusis floats weightlessly downward to the start of bar 2—where an unstable harmony puts off a real downbeat until we finally get it in bar 3. (Clementi attempts something similar, perhaps with less success, in the finale of the following sonata in F.) Then comes a rondo, whimsical in the extreme, full of surprising harmonic digressions and abrupt changes of texture. The sonata ends with a flash of wit: an unceremonious, chromatic, sidling approach to the final tonic chord.

from notes by Leon Plantinga © 2009

La première sonate de l’op. 33, en la majeur—souvent une bonne tonalité pour Clementi—est une pièce compacte, limpide, au vocabulaire harmonique modeste et à la texture transparente rappelant, là encore, Haydn. Le thème inaugural du premier mouvement s’ouvre sur une élégante ambiguïté rythmique haydnesque, lorsqu’une anacrouse à trois temps descend en apesanteur jusqu’au début de la mesure 2—où une harmonie instable perturbe un vrai frappé, qui finit par arriver à la mesure 3. (Clementi tente une manœuvre similaire, mais peut-être moins réussie, dans le finale de la sonate suivante, en fa.) S’ensuit un rondo, fantasque à l’extrême, truffé de surprenantes digressions harmoniques et de brusques changements de texture. La sonate s’achève sur une pointe d’esprit: une approche toute simple, chromatique, de biais, de l’accord de tonique final.

extrait des notes rédigées par Leon Plantinga © 2009
Français: Hypérion

Die erste Sonate aus op. 33, in A-Dur—oft eine gute Tonart für Clementi—ist ein kompaktes, helles Stück mit bescheidenem harmonischem Vokabular und transparentem Satz, das wiederum an Haydn erinnert. Das Anfangsthema des ersten Satzes beginnt mit eleganter haydnischer rhythmischer Mehrdeutigkeit, indem ein drei Taktschläge langer Auftakt schwerelos zum Beginn des zweiten Taktes hin schwebt—wo unstabile Harmonik die wahre „Eins“ bis zum dritten Takt verzögert. (Clementi versucht mit eher geringerer Wirkung etwas Ähnliches im Finale der folgenden Sonate in F.) Dann folgt ein extrem launisches Rondo voll von überraschenden harmonischen Ausweichungen und abrupten Texturenwechseln. Die Sonate endet mit einem Geistesblitz: eine unverblümte, chromatisch-schlängelnde Annäherung zum abschließenden Tonikaakkord.

aus dem Begleittext von Leon Plantinga © 2009
Deutsch: Renate Wendel

Waiting for content to load...
Waiting for content to load...