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 CDA67831

Chanson Louis XIII and Pavane

'in the style of Couperin'

Alban Gerhardt (cello), Cecile Licad (piano)
Recording details: June 2010
Concert Hall, Wyastone Estate, Monmouth, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: June 2011
Total duration: 4 minutes 0 seconds

Cover artwork: Photograph of Alban Gerhardt by Sim Canetty-Clarke


'[Gerhardt] and the superb Cecile Licad are wholly successful in this endeavour from the outset … he has created a well-contrasted programme … each work is presented with stylish devotion … this is cello playing of exquisite sophistication and bold imagination' (BBC Music Magazine)

'There is much more to an encore, as Alban Gerhardt will tell you, than casually capping a recital with an audience-pleaser … listen to Gerhardt in Benjamin Godard’s Berceuse de Jocelyn and there is a paradigm of the exceptional eloquence and discernment that distinguishes the entire disc' (The Daily Telegraph)

'Gerhardt's playing [is] less heart-on-sleeve than Casals's own, but wonderfully eloquent and noble: he can be extraordinarily moving in such once-familiar standards as the Berceuse from Godard's Jocelyn, or in Casals's arrangement of Chopin's Raindrop Prelude' (The Guardian)

'Let me not turn tedious with a list of Gerhardt's superior skills, his seamless legato, his command of bowing skills, his generous tone even at the top of the A string, his glowing burnished double stops in the Popper/Chopin Nocturne … it goes without saying, though I better say it, that the playing is immaculate from both players, the sequence of pieces on the CD is nicely contrasted' (International Record Review)
In about 1910 Fritz Kreisler announced to the American press that ‘the king of the bow has arrived’, the bow in question belonging to Pablo Casals. Before long Kreisler had joined Casals and the pianist Harold Bauer in a trio which was to excel both in chamber music and performances of Beethoven’s ‘Triple’ Concerto. Kreisler was born in Vienna in 1875, studied at the Conservatoires both in his native city and in Paris, became a French citizen in 1938, an American citizen in 1943, and was the most famous violinist of his time. Early in his career, he started composing short pieces for his own recital use but, imagining that they would receive scant attention and practically no critical acclaim if his own name were attached to them, described them either as arrangements of folk songs or as transcriptions of works by long-dead composers such as Vivaldi, Rameau, Martini and Pugnani. Included amongst these are the Chanson Louis XIII and Pavane composed ‘in the style of’ Couperin.

from notes by Peter Avis © 2011

Vers 1910, dans une déclaration à la presse américaine, Fritz Kreisler a annoncé «l’arrivée du roi de l’archet», l’archet en question étant celui de Pablo Casals. Kreisler s’est vite réuni avec Casals et le pianiste Harold Bauer en un trio qui allait exceller dans le domaine de la musique de chambre comme dans des exécutions du «Triple» Concerto de Beethoven. Né à Vienne en 1875, Kreisler avait fait ses études au Conservatoire de sa ville natale et au Conservatoire de Paris; il est devenu citoyen français en 1938, citoyen américain en 1943 et a été le violoniste le plus célèbre de son temps. Au début de sa carrière, il a commencé à composer de petites pièces pour ses propres récitals mais, pensant qu’on n’y prêterait guère attention et qu’elles ne susciteraient guère d’appréciations positives de la critique si son propre nom y était attaché, il les a présentées comme des arrangements de chansons traditionnelles ou des transcriptions d’œuvres de compositeurs disparus depuis longtemps tels Vivaldi, Rameau, Martini et Pugnani. Parmi ces pièces figure la Chanson Louis XIII et Pavane composée «dans le style de» Couperin.

extrait des notes rédigées par Peter Avis © 2011
Français: Marie-Stella Pâris

Um das Jahr 1910 verkündete Fritz Kreisler vor der amerikanischen Presse, dass „der König des Bogens“ angekommen sei, und der besagte Bogen gehörte Pablo Casals. Binnen kurzem hatte sich Kreisler mit Casals und dem Pianisten Harold Bauer zu einem Trio zusammengetan, das sich sowohl in der Kammermusik als auch mit Aufführungen von Beethovens „Tripelkonzert“ hervortun sollte. Kreisler wurde 1875 in Wien geboren, studierte am Konservatorium seiner Heimatstadt und an dem von Paris, wurde 1938 französischer Staatsbürger, 1943 US-Bürger und war der berühmteste Geiger seiner Zeit. Schon früh in seiner Karriere begann er, kurze Stücke zum Gebrauch bei seinen eigenen Auftritten zu komponieren, doch da er sich ausrechnete, dass man ihnen unter seinem Namen nur wenig Beachtung und so gut wie keinerlei kritischen Beifall schenken würde, bezeichnete er sie entweder als Volksliedbearbeitungen oder als Transkriptionen von Werken längst verstorbener Komponisten wie Vivaldi, Rameau, Martini oder Pugnani. Zu diesen Stücken gehört auch die „im Stil von“ Couperin komponierte Chanson Louis XIII et Pavane.

aus dem Begleittext von Peter Avis © 2011
Deutsch: Arne Muus

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