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Track(s) taken from CDA67947

Toccata in C major, Op 6

1811; originally titled Caprice ou Toccata

Howard Shelley (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: November 2011
St Silas the Martyr, Kentish Town, London, United Kingdom
Produced by Annabel Connellan
Engineered by Ben Connellan
Release date: September 2012
Total duration: 4 minutes 5 seconds

Cover artwork: A Storm Passing Off on the Coast of Merionethshire (1818) by Anthony Vandyke Copley Fielding (1787-1855)
Yale Center for British Art, Paul Mellon Fund, USA / Bridgeman Art Library, London


'Shelley plays this music with consummate artistry, making light of its technical difficulties and investing it with all the Romantic charm and ardour it needs. It's captured in excellent quality sound' (BBC Music Magazine)

'Spohr's piano sonata is rarely heard and there is much to commend in it … a work that is lyrically and melodically dominated throughout, and with some ravishing modulations among its highlights … Onslow's works are well deserving of an audience … the Toccata is very enjoyable … once again, Shelley has done us a service in resurrecting long-forgotten works and performing them with such consummate skill and good taste. The notes and Hyperion's recording quality are of an exemplary standard' (International Record Review)

'Shelley, who as a conductor has recorded all of Spohr's symphonies, plays this music masterfully. Hyperion's recording is faultless. What's not to like?' (Fanfare, USA)
In 1811, four years after the C minor piano sonata, Onslow composed an entertaining ‘Caprice ou Toccata’ (as it was styled in the first edition), a test of leggiero playing at speed that refracts the spirit of a Baroque toccata (complete with hints of fugal texture) through an early Romantic prism. Could Schumann have remembered Onslow’s work when he came to write his own strikingly similar Toccata in the same key, Op 7, nearly two decades later?

from notes by Richard Wigmore © 2012

En 1811, quatre ans après sa sonate pour piano en ut mineur, Onslow composa un divertissant «Caprice ou Toccata» (c’est ce que mentionne l’édition princeps), un exercice de jeu leggiero exécuté à une allure qui réfracte l’esprit d’une toccata baroque (avec allusions à une texture fuguée) à travers le prisme du romantisme naissant. Schumann se rappellera-t-il cette œuvre quand, presque vingt ans plus tard, il en viendra à écrire sa Toccata op. 7, étonnamment similaire et dans la même tonalité?

extrait des notes rédigées par Richard Wigmore © 2012
Français: Hypérion

In 1811, vier Jahre nachdem er die Klaviersonate in c-Moll geschrieben hatte, komponierte Onslow ein unterhaltsames Werk mit dem Titel „Caprice ou Toccata“ (wie es in der ersten Ausgabe genannt wurde), eine Übung im schnellen Leggiero-Spiel, wobei der Geist der barocken Toccata (sogar mit Anklängen an fugale Texturen) aus frühromantischer Sicht interpretiert zu sein scheint. Erinnerte sich Schumann möglicherweise an Onslows Werk, als er seine eigene, auffallend ähnliche Toccata in derselben Tonart, op. 7, fast zwei Jahrzehnte später schrieb?

aus dem Begleittext von Richard Wigmore © 2012
Deutsch: Viola Scheffel

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