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Track(s) taken from CDA66320

Aubade, Op 6 No 1

First line:
L'oiseau dans le buisson
c1873, published as Op 6 No 1, G major (original key F major) 12/8 Allegretto moderato quasi andante
author of text

Dame Janet Baker (mezzo-soprano), Geoffrey Parsons (piano)
Recording details: August 1988
Seldon Hall, Haberdashers' Aske's School, Hertfordshire, United Kingdom
Produced by Martin Compton
Engineered by Antony Howell
Release date: November 1989
Total duration: 1 minutes 43 seconds

Other recordings available for download

Jean-Paul Fouchécourt (tenor), Graham Johnson (piano)
Ben Johnson (tenor), Malcolm Martineau (piano)


'This varied and generous selection of 28 songs is perhaps the best general introduction to this important side of Fauré's output and is also one of Geoffrey Parsons's finest recordings: voice and piano seem always to be at one. A magical disc' (BBC Music Magazine Top 1000 CDs Guide)

'Deeply considered and deeply moving performances' (BBC Record Review)

'A performance to treasure' (Opera Now)
When poets wax lyrical about the dawn they can seldom resist describing the flowers and gardens that are first to experience the day’s awakening. The minimalist accompaniment of the song is mezzo staccato and evokes pinpricks of light; as the strophe progresses, the distant brilliance of the morning star gradually gives way to legato phrasing and warmer sunlight. All this is in Fauré’s best Italian style—similar to the two Romaine Bussine settings—where the simplest of accompaniments supports a melodic curve that is independently eloquent. It is indeed a marvel how this composer graces the seemingly static anonymity of such piano-writing with an ardent serenade that evokes Massenet (cf his duet Rêvons, c’est l’heure, 1871, with its similar quaver duplets) or some of the canzone of Tosti. Fauré had the common touch when required. If he had possessed the gumption to market himself ruthlessly, he might have made the same amount of money as some of his more canny colleagues.

from notes by Graham Johnson © 2005

Lorsqu’ils se font lyriques sur l'aube, les poètes résistent rarement à la description des fleurs et des jardins qui, les premiers, ressentent l’éveil du jour. Ici, l’accompagnement minimaliste de la mélodie, mezzo staccato, évoque des petits poits lumineux : à mesure que la strophe progresse, l’éclat lointain de l’étoile du matin fait lentement place au phrasé legato et à une lumière plus chaude. Nous trouvons là un Fauré au meilleur de son style italien—dans la veine des deux mises en musique de textes de Romain Bussine—, où un accompagnement simplissime soutient une courbe mélodique intrinsèquement éloquente. On s’émerveille de voir comment, à l’aide d’une ardente sérénade qui évoque Massenet (dont le duo de 1871 Rêvons, c’est l’heure présente les mêmes duolets de croches) ou certaines canzone de Tosti, il pare l’anonymat en apparence statique d’une telle écriture pianistique. Il savait, quand il le fallait, être populaire. S’il avait su se vendre sans faire de pitié, il aurait pu empocher autant d’argent que ces rusés marchands.

extrait des notes rédigées par Graham Johnson © 2005
Français: Hypérion

Other albums featuring this work

Fauré: The Complete Songs, Vol. 2
Studio Master: SIGCD472Download onlyStudio Master FLAC & ALAC downloads available
Fauré: The Complete Songs, Vol. 4 - Dans un parfum de roses
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