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Track(s) taken from CDA67309

Herzlich tut mich verlangen, BWV727

1708/17; Weimar
commissioned by Harriet Cohen and first published by Oxford University Press in A Bach Book for Harriet Cohen; first performed at the Queen's Hall on 17 October 1932

Angela Hewitt (piano)
Recording details: April 2001
Henry Wood Hall, London, United Kingdom
Produced by Ludger Böckenhoff
Engineered by Ludger Böckenhoff
Release date: August 2001
Total duration: 2 minutes 36 seconds

Cover artwork: Front photograph of Angela Hewitt by Steve J Sherman

Other recordings available for download

Jonathan Plowright (piano)


'A magnificent addition to both the Bach repertoire and Angela Hewitt's artistically unparallelled survey of Bach's keyboard compositions' (Fanfare, USA)

'A collection of rarities and oddities that makes for enjoyable listening. The quality of the Hyperion recording is excellent, with the right balance of ambience and instrument in the fine sounding Henry Wood Hall' (Pianist)

'For pure listening pleasure that is both delightful and profoundly moving, this one is hard to beat' (National Post)

'One of the foremost Bach interpreters of our time, Hewitt brings her own distinctive timing and touch. She makes the most of the piano’s sonority … demonstrating remarkable finger strength in sustaining the various lines of Bach’s melodies and counter-melodies and effectively drawing out the tenderness, vigour and serenity of the music. [An] attractive and impressive recording' (The Inverness Courier)

'Divine, uplifting' (Ottowa Citizen, Canada)
William Walton, in 1932 still a young rising star of British music, contributed a ‘free arrangement’ of Bach’s early chorale Herzlich tut mich verlangen BWV727. Walton’s freedoms are nothing like as radical as Vaughan Williams’s, but they include frequent changes of register—taking the left hand to the remotest end of the piano at one spot—octave doublings, and the addition of staccato markings to some phrases. (Walton would return to this piece in 1940 and orchestrate it as the fourth movement of his ballet The Wise Virgins, which is entirely made up of Bach arrangements.)

from notes by Calum MacDonald © 2010

En 1932, William Walton, qui n’était encore qu’une jeune étoile montante de la musique britannique, fit un «arrangement libre» d’un vieux choral de Bach, Herzlich tut mich verlangen BWV727. Les libertés prises par Walton ne sont en rien aussi radicales que celles de Vaughan Williams, même si elles incluent de fréquents changements de registre—entraînant, une fois, la main gauche au fin fond du piano—, des redoublements à l’octave et l’ajout, pour certaines phrases, d’indications staccato. (En 1940, Walton reviendra à cette pièce pour l’orchestrer et en faire le quatrième mouvement de The Wise Virgins, un ballet exclusivement constitué d’arrangements bachiens.)

extrait des notes rédigées par Calum MacDonald © 2010
Français: Hypérion

William Walton, der 1932 noch ein junger aufsteigender Stern am britischen Musikhimmel war, verfasste ein „freies Arrangement“ des frühen Bach-Chorals Herzlich tut mich verlangen BWV727. Waltons Freiheiten sind bei weitem nicht so radikal wie die von Vaughan Williams, doch umfassen sie häufige Registerwechsel, wobei die linke Hand an einer Stelle zum entferntesten Ende der Tastatur geschickt wird, sowie Oktavverdoppelungen und die Einfügung von Stakkatomarkierungen in einige Phrasierungen. (1940 kehrte Walton zu diesem Stück zurück und orchestrierte es als vierten Satz seines Balletts The Wise Virgins, das vollständig aus Arrangements von Bachwerken besteht.)

aus dem Begleittext von Calum MacDonald © 2010
Deutsch: Henning Weber

Other albums featuring this work

Bach: Piano Transcriptions, Vol. 9 - A Bach Book for Harriet Cohen
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