Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Click cover art to view larger version
Track(s) taken from SIGCD611

Quaderno musicale di Annalibera


Alessio Bax (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: December 2018
Britten Studio, Snape Maltings, Aldeburgh, United Kingdom
Produced by Anna Barry
Engineered by Mike Hatch
Release date: February 2020
Total duration: 13 minutes 47 seconds

Cover artwork: Photograph of Alessio Bax by Marco Borggreve


‘This Italian's salute to his home country is inspired indeed’ (Gramophone)
More than two centuries after Johann Sebastian Bach based his 16 Concertos, BWV 972-987, on his Italian contemporaries Vivaldi, Torelli, and Alessandro and Benedetto Marcello, a leading voice in Italian music would return the salute. In 1952, Luigi Dallapiccola, Italy’s leading proponent of twelve-note serialism, composed Quaderno musicale di Annalibera (Annalibera’s musical notebook), a collection of eleven miniatures for solo piano, dedicated to his daughter Annalibera on her eighth birthday. While its title page immediately evokes the Notenbüchlein für Anna Magdalena Bach, the Baroque master’s gift to his second wife, the music of Quaderno musicale does not immediately evoke the composer’s familial affection. Here is music representative of Dallapiccola’s most uncompromising dodecaphonic technique. Likewise does it pay explicit homage to Bach: the first movement, 'Simbolo' ('Symbol'), begins with a statement of Bach’s musical cipher—the notes B-A-C-H (the German notational spelling for B flat-A-C-B natural)—over an oscillating staccatissimo bass line. That motif recurs throughout the haunting movement.

Subsequent movements alternate between hyper-expressionist vignettes—the thorny 'Accenti'; the broad 'Fregi' ('Friezes'), marked dolcissimo, ma intenso—and ephemeral displays of contrapuntal ingenuity, given names redolent of Bach’s Die Kunst der Fuge: 'Contapunctus primus', 'Contrapunctus secondus', 'Contrapunctus tertius' (the last of these a canon cancrizans, in which the main theme is taken up by a second voice in reverse).

Upon cursory listening, the Quaderno musicale di Annalibera appears severe in character, yet time spent within its pages reveals lyricism and tenderness beneath its macho veneer. Moreover, as with Bach’s music, the Quaderno musicale makes a virtue of marrying technical rigor with expressive depth. In this, Dallapiccola has fashioned a work as reverent of his artistic ancestry as it is affectionate towards his own progeny.

from notes by Patrick Castillo © 2020

Waiting for content to load...
Waiting for content to load...