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Track(s) taken from CDA67889

Piano Quartet in A minor, Op 67


The Nash Ensemble
Recording details: December 2010
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: April 2012
Total duration: 16 minutes 15 seconds

Cover artwork: Clotilde and Elena on the Rocks, Javea (1905) by Joaquin Sorolla y Bastida (1863-1923)
Private Collection / Photo © Christie's Images / Bridgeman Art Library, London


‘There's a gentle melancholy to overtly Spanish pieces such as La oración del torero and a warm, beguiling tunefulness to … the Piano Quartet, Op 67, all seductively played by The Nash Ensemble’ (The Daily Telegraph)

‘This excellent CD of chamber music … the performances throughout by these outstanding musicians, who are clearly wholly committed to Turina's music, are deeply impressive. The recording quality is also first-rate. Hyperion's world-renowed production values are equally consistently admirable and fully maintained here’ (International Record Review)

‘The near-masterpieces here … are the splendid Piano Trio Op 35, the A minor Piano Quartet Op 67, and the Violin Sonata, played with searing tone and rhythmic dash by Marianne Thorsen and Ian Brown, mainstays of the wonderful Nash Ensemble. Lawrence Power's viola and Paul Watkins' cello shine in, respectively, the Escena andaluza and the songful tenor/bass melodies of the trio. It would be hard to imagine more compelling performances’ (The Sunday Times)

‘Played with relish and sensitivity … this is music that paints pictures and is imbued with Spanish sunshine and sensual nocturnes, the listener serenaded with expressive warmth and a wide palette of colour, all lovingly played’ (Time Out)
The opening passages of the Piano Quartet in A minor, Op 67, immediately announce an essential foundational element of Turina’s music. These melodic passages are constrained and mysterious, but distinctly Andalusian. They hearken to the ancient cante jondo, the serious ‘deep song’ of southern Spain, and become building blocks for the entire structure, appearing in the second and third movements as well, and thus giving the work a cyclical form. In another direct reference to folk music, passages of the second movement feature repeated chords in the piano and pizzicato in the strings which both allude to the guitar.

from notes by William C Krause © 2012

Les passages inauguraux du Quatuor avec piano en la mineur op. 67 annoncent d’emblée un élément fondateur de la musique de Turina—mystérieux et resserrés, ces passages mélodiques sont clairement andalous. Ils portent une attention respectueuse au vénérable cante jondo, ce chant profond de l’Espagne méridionale, et servent à construire tout l’édifice: apparaissant dans les deuxième et troisième mouvements, ils confèrent à l’œuvre une forme cyclique. Autre référence directe à la musique folklorique, des passages du deuxième mouvement présentent des accords répétés au piano et un pizzicato aux cordes qui sont autant d’allusions à la guitare.

extrait des notes rédigées par William C Krause © 2012
Français: Hypérion

Die Anfangspassagen des Klavierquartetts in a-Moll op. 67 kündigen sofort ein grundlegendes Element in der Musik Turinas an. Diese melodischen Passagen sind zurückhaltend und geheimnisvoll, jedoch ausgesprochen andalusisch. Sie greifen auf den alten Cante jondo zurück, den ernsten „tiefen Gesang“ Südspaniens, und werden zu Bausteinen der Gesamtstruktur. Sie tauchen ebenfalls im zweiten und dritten Satz auf, was dem Werk eine zyklische Form verleiht. Ein weiterer direkter Verweis auf die Volksmusik findet sich in mehreren Passagen des zweiten Satzes, wo Akkorde von dem Klavier und den Pizzicato-Streichern wiederholt werden und damit jeweils auf die Gitarre anspielen.

aus dem Begleittext von William C Krause © 2012
Deutsch: Viola Scheffel

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