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Track(s) taken from CDA67991/2


22 January 1949; Andantino, F major; composed at Brookwood, the home the work's dedicatee Marion Keyte-Perry

Chloë Hanslip (violin), Danny Driver (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: April 2012
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: May 2013
Total duration: 5 minutes 15 seconds

Cover artwork: The Embankment and Cleopatra's Needle at Night, London (c1910) by George Hyde Pownall (1876-1932)
Private Collection / Bourne Gallery, Reigate / Bridgeman Art Library, London

The Song and Bolero were both written on 22 January 1949 at Brookwood, home of their dedicatee, Marion Keyte-Perry, a retired headmistress whom Bowen’s biographer Monica Watson describes in notably waspish terms. The Song, with its gently undulating semiquaver accompaniment and elusive sidesteps of tonal direction, suggests recent study of Fauré. Unrepentantly backward-looking, it is a soulful cantilena in F major, cast in ternary form but registering as a continuum of restrained poetic meditation.

from notes by Francis Pott © 2013

Le Chant et le Boléro furent rédigés le 22 janvier 1949 à Brookwood, où vivait leur dédicataire, Marion Keyte-Perry, un proviseur à la retraite dont Monica Watson, la biographe de Bowen, nous brosse un féroce portrait. Le Chant, avec son accompagnement de doubles croches doucement ondoyant et ses insaisissables esquives de toute direction tonale, suggère que Bowen venait d’étudier Fauré. Avec sa manière impénitente de regarder en arrière, il est une nostalgique cantilène en fa majeur, coulée dans une forme ternaire mais apparaissant comme un continuum de méditation poétique contenue.

extrait des notes rédigées par Francis Pott © 2013
Français: Hypérion

Song und Bolero wurden beide am 22. Januar 1949 in Brookwood geschrieben, dem Heim von Marion Keyte-Perry, der die beiden Stücke gewidmet sind. Die pensionierte Schulleiterin wird von Bowens Biographin Monica Watson in auffallend bissiger Weise beschrieben. Song verweist mit der sanft wogenden Sechzehntelbegleitung und der flüchtig abweichenden tonalen Richtung auf Bowens kurz zuvor begonnenes Fauré-Studium. Die unbekümmert rückwärtsgewandte gefühlvolle Kantilene in F-Dur ist dreiteilig, erscheint aber als kontinuierliche und maßvolle poetische Meditation.

aus dem Begleittext von Francis Pott © 2013
Deutsch: Christiane Frobenius

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