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Track(s) taken from CDA68040

Sonata in G minor 'Il trillo del Diavolo', Bg5

1713 according to Lalande; more probably late 1740s

Jack Liebeck (violin), Katya Apekisheva (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: April 2013
St George's, Brandon Hill, United Kingdom
Produced by Rachel Smith
Engineered by Ben Connellan
Release date: April 2014
Total duration: 15 minutes 58 seconds

Cover artwork: The Violin Case (1923) by Marie Clementine Valadon (1865-1938)
Musée d'Art moderne de la Ville de Paris / Giraudon / Bridgeman Art Library, London


'Jack Liebeck is a fine player—no doubt about that—with a firm tone and rock-solid technique. The 1785 ‘Ex-Wilhelmj’ Guadagnini he plays fills St George’s, Bristol, with commanding ease … he is best in Kreisler’s transcriptions (a touching Gluck Mélodie, thrilling bravura in Falla’s Danse espagnole and a forthright, confident account of the 'Devil's Trill' Sonata, which ends the disc in style)' (Gramophone)

'This cracking box of Fritz Kreisler fireworks marks the beginning of young violinist Jack Liebeck's partnership with Hyperion … these are so refreshingly bright and zestful they feel like new pieces. The instantly familiar Praeludium and Allegro, for example, is dismissed with exhilarating haste, as is Kreisler's immensely demanding transcription of Dvořák’s E minor Slavonic Dance. But perhaps the most impressive performance in the entire collection is the conquering of Kreisler's adaptation of Tartini's 'Devil's Trill' sonata, which surrenders completely to Liebeck and Katya Apekisheva's formidable technique' (The Observer)» More

'This estimable Kreisler compilation from the young British violinist Jack Liebeck heralds his new alliance with Hyperion, and one could hardly imagine a more propitious start to their relationship … these disarmingly affectionate and often brilliant accounts of these Kreisler favourites prove unusually satisfying … particularly superb are the transcriptions of Dvořák’s E minor Slavonic Dance, Op 72 No 2 and the ‘Danse espagnole’ from Falla’s La vida breve, both of which are hugely demanding for the violinist and played with élan and bravura here by Liebeck … this is unquestionably a Kreisler disc to which I’ll be returning often and always with pleasure, for these spirited and discerning readings have so much to commend them as to make even minor qualms seem churlish. Liebeck and Apekisheva are heard at their brilliant best in Kreisler’s own formidably taxing reworking of the G minor ‘Devil’s Trill’ Sonata by Tartini. There is indeed something of the Mephistophelean about this astounding account and Liebeck sounds stunning in Kreisler’s intimidating cadenza' (International Record Review)» More

'Quite superb accounts of the Recitative and Scherzo, and Kreisler’s arrangement of Tartini’s ‘Devil’s Trill’ Sonata … the engineers provide an ideal balance and pleasing sound to complete an outstanding release' (The Strad)» More
Giuseppe Tartini (1692–1770) once dreamt that Satan played a piece to him with the most amazing trill, and when he awoke tried to capture it on paper as a sonata in G minor, Il trillo del Diavolo (‘The Devil’s trill’). Tartini throws in some pretty devilish trills and indicates that a cadenza may be improvised towards the end of the sonata. Kreisler’s edition, incorporating a realization of the figured bass as well as fingerings and phrasings, provides a fearsome cadenza involving triple- and quadruple-stopping as well as two- and three-note trills. Even in this era of ‘authentic’ performance, it remains popular with violinists who have the technique and stamina for it.

from notes by Tully Potter © 2014

Un jour, Giuseppe Tartini (1692–1770) rêva que Satan lui jouait un morceau avec le plus sidérant des trilles. À son réveil, il essaya de le saisir sur le papier: ce sera Il trillo del Diavolo («le trille du Diable»), une Sonate en sol mineur où il se lance dans des trilles très diaboliques tout en signalant qu’une cadenza peut être improvisée, vers la fin. L’édition de Kreisler, qui intègre une réalisation de la basse chiffrée ainsi que les doigtés et les phrasés, fournit une terrible cadenza faisant intervenir des triples et des quadruples cordes, mais aussi des trilles de deux et trois notes. Même à notre époque d’interprétation «authentique», elle reste populaire auprès des violonistes qui ont assez de technique et d’endurance pour la jouer.

extrait des notes rédigées par Tully Potter © 2014
Français: Hypérion

Giuseppe Tartini (1692–1770) hatte einmal einen Traum, in dem der Satan ihm ein Stück mit dem unglaublichsten Triller vorgespielt hat; und als er aufwachte, habe er versucht, das Stück aufzuschreiben, als Sonate in g-Moll, Il trillo del Diavolo („Der Teufelstriller“). Tartini hat ein paar teuflische Triller darin untergebracht und angegeben, dass gegen Ende der Sonate eine Kadenz improvisiert werden könne. Kreislers Ausgabe, mit ausgeschriebenem bezifferten Baß sowie Fingersätzen und Phrasierungen, bietet eine furchterregende Kadenz mit Drei- und Vierfachgriffen sowie Trillern auf zwei oder drei Tönen. Selbst in der jetzigen Zeit der „historischen“ Aufführungspraxis wird dies von Geigern geschätzt, die über die Technik und das Durchhaltevermögen dafür verfügen.

aus dem Begleittext von Tully Potter © 2014
Deutsch: Christiane Frobenius

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