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Track(s) taken from CDA67767

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

Jonathan Plowright (piano)
Recording details: September 2008
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Jeremy Hayes
Engineered by Tony Faulkner
Release date: September 2010
Total duration: 2 minutes 39 seconds

Cover artwork: Front illustration by Donya Claire James (b?)

Other recordings available for download

Angela Hewitt (piano)


'Jonathan Plowright plays everything with calm, unforced assurance, nicely balancing Bach style and 1930s period manners, and making light of all the left-hand skips needed to suggest Bach's organ pedal parts. An immaculate recording and Calum MacDonald's detailed notes enhance the disc's appeal' (BBC Music Magazine)

'Every so often a CD comes along that I simply can't stop playing. Here's one such example … glorious interpretations by Jonathan Plowright' (The Observer)

'There are some gems here … this is an invaluable addition to Hyperion's Bach Piano Transcriptions series and Plowright has done us an enormous service in resurrecting these transcriptions and in rendering them so eloquently' (International Record Review)
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

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Bach Arrangements
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