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Track(s) taken from CKD435

Sonata for bassoon and continuo in C major, FWV N:C1


Peter Whelan (bassoon), Ensemble Marsyas
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: September 2012
Wigmore Hall, London, United Kingdom
Produced by Philip Hobbs
Engineered by Philip Hobbs & Robert Cammidge
Release date: February 2014
Total duration: 10 minutes 47 seconds

Cover artwork: Felix Reiner mit Fagott by Peter Jakob Horemans (1700-1776)


'For his latest release, Whelan has deployed Ensemble Marysas to explore some of the colourful ways in which his instrument was deployed in the Baroque courts, street and opera house. There's pungent Rameau, the famous Telemann Bassoon Sonata, which Whelan observes isn't uniquely tailored to the bassoon … what a satisfying, pungent sound … relishing the unique turn qualities of the instrument, played by Peter Whelan with members of his ensemble Ensemble Marsyas. Characterful players all of them, and it's a thoroughly enjoyable outing for the gruff Baroque double reed instrument. Music from Rameau, Telemann and Fasch and Boismortier. The Proud Bassoon is what they've called it; it sounds that way' (BBC Radio 3 CD Review)

'Peter Whelan's playing is always a delight to hear—full of life, interest and variety, and clearly demonstrates why the bassoon has every right to be proud!' (Early Music Review)» More

'It was Johann Mattheson who referred to 'the proud bassoon' as long ago as 1713. The baroque bassoon is a kind of dancing bear, one gifted with the stamina and skill to achieve Riverdance-like energy levels, but also with a penchant for melancholy and mournfulness. Peter Whelan offers bassoon sonatas by Fasch and Telemann, which are among the first of their kind; two 1734 sonatas by Boismortier (who, five years earlier, wrote the first bassoon concerto); and duos with cello from Couperin's Les goûts-réunis. The CD is topped and tailed by a delightful Rameau arrangement and a set of variations on Eileen Aroon by Dublin-based Matthew Dubourg. The instrument may sing with hoarse tone and strain, but this seems hardly a sacrifice when so much here is a real musical joyride' (The Irish Times)

'Dieses Album macht es dem Rezensenten nicht Ieicht. Es enthält so überwältigend schöne Musik, dass man gar nicht anders kann, als sich auf den ersten Blick zu verlieben. Man möchte am liebsten gar nicht kritisieren … auf dieser SACD stehen eher profane (aber eben sehr nett anzuhörende) Gelegenheitskompositionen neben großer Kunst aus der Feder Couperins, Faschs oder Telemanns. Solist Peter Whelan ist ein Phänomen auf dem Barockfagott. Wie viel Farbe und Lyrismus er aus diesem schwierig beherrschbaren Instrument herausholt, nötigt einem tiefen Respekt ab' (Crescendo, Germany)
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