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 CDH55203

Clarinet Concerto No 3 in B flat major, Op 11

composer

Dame Thea King (clarinet), London Symphony Orchestra, Alun Francis (conductor)
Recording details: January 1982
St Barnabas's Church, North Finchley, London, United Kingdom
Produced by Walter Gray & Andrew Keener
Engineered by Kenneth Wilkinson
Release date: April 1986
Total duration: 25 minutes 38 seconds

Cover artwork: Bridge in an Italian landscape by Adam Pynacker (1622-1673)
Reproduced by kind permission of The Governors of Dulwich Picture Gallery, London
 

The first movement of Op 11 has three themes. Crusell here uses the chalumeau register to particularly good effect. The slow movement is the longest of his three concertos and the most profound. Crusell provides a written-out cadenza for this movement, whereas in Op 1 he gives neither cadenza nor cadence point. The final movement is in sonata-rondo form and in true polacca style.

from notes by Stephen Johnson © 1994

Le premier mouvement de l’Opus 11 contient trois thèmes. Crusell emploie ici le registre du chalumeau de façon particulièrement judicieuse. Le mouvement lent est le mouvement le plus long et le plus profond de ses trois concertos. Crusell prend soin ici de fournir une cadence explicite, alors qu’il ne donne ni cadence ni point d’arrêt dans l’Opus 1. Le dernier mouvement est une forme rondo-sonate, cette fois dans le plus pur style de la polacca.

extrait des notes rédigées par Stephen Johnson © 1994
Français: Jean-Paul Metzger

Der erste Satz von Op. 11 besitzt drei Themen. Hier setzt Crusell das Chalumeauregister besonders wirkungsvoll ein. Der langsame Satz ist der längste in seinen drei Konzerten und auch der scharfsinnigste. Crusell versieht diesen Satz mit einer ausgeschriebenen Kadenz, Op. 1 dagegen enthält weder eine Kadenz noch einen Kadenzpunkt. Der letzte Satz ist in der Sonaten- Rondoform und vom Stil her tatsächlich polacca-artig.

aus dem Begleittext von Stephen Johnson © 1994
Deutsch: Meckie Hellary

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