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Track(s) taken from CDA67515

Ronde champêtre

circa 1870

Angela Hewitt (piano)
Recording details: June 2004
Das Kulturzentrum Grand Hotel, Dobbiaco, Italy
Produced by Ludger Böckenhoff
Engineered by Ludger Böckenhoff
Release date: February 2006
Total duration: 3 minutes 55 seconds


'As to Hewitt's performances, they are as affectionate, warm, lyrical and charming as one could wish, underlining but not exaggerating Chabrier's deliciously predictable unpredictability' (Gramophone)

'Hewitt is at her best here, teasing out the yearning harmonies and shy cadences with a persuasive rubato' (BBC Music Magazine)

'It is very fresh-face playing, bringing out, also, Chabrier's acknowledged debt to the French Baroque keyboard giants, while even Bach seems to hang over the gigue-like Scherzo-valse … wit and charm are in abundance' (The Daily Telegraph)

'Angela Hewitt, in one of her best recordings to date, has captured Chabrier's musical spirit perfectly' (International Record Review)

'Pianists have missed some treats by neglecting Chabrier’s piano music. Angela Hewitt plays this refreshing selection with the same poetry, elegance and dancing touch that made her other French discs for Hyperion so special. The ten Pièces pittoresques take pride of place: dominated by sunshine, delightfully frisky rhythms and an early French Impressionist haze. Fed up of grey skies? Buy this disc and it’s already spring' (The Times)

'If you don't know Chabrier's piano music, then this is an ideal selection of his best (and best-known) works played with exactly the right amount of tenderness, Gallic wit, verve, and—the most important ingredient of all—charm' (Classic FM Magazine)

'Hewitt is in excellent form throughout … well worth it, I'd say' (Fanfare, USA)

'In terms of recording, performance, and production, another success for the Hewitt-Hyperion collaboration' (MusicWeb International)

'Perhaps Angela Hewitt's freshly minted, sharply honed interprestations will inspire recitalists to dust off these unsung treasures' (Classics Today)
Ronde champêtre, written around 1870, was originally included in the Pièces pittoresques. The title, along with those of other pieces, was probably not Chabrier’s but the publisher’s. The opening theme comes from Poussah’s aria from Fisch-Ton-Kan, the operetta written during 1864 in collaboration with Paul Verlaine. In A minor, unpolished and jerky in style, this theme is repeated three times in the guise of a refrain. A second motif in A major, of great sweetness, wrapped round with arpeggiated chords, is then repeated almost at once with slight variations. This is followed by a lively and staccato third motif in B flat, which starts piano before finally reaching an exalted ff, hammered out in octaves.

from notes by Jean-Paul Sévilla © 2006
English: Roland Smithers

Ronde champêtre écrite autour de 1870 devait être originalement incluse dans les Pièces pittoresques. Le titre, comme pour d’autres pièces probablement ne fut pas donné par Chabrier, mais par l’éditeur. Le thème initial vient de l’air du Poussah dans l’opérette « Fisch-Ton-Kan », écrite en 1864, en collaboration avec Paul Verlaine. En la mineur, déhanché et sautillant ce thème sera repris trois fois, en guise de refrain. Un second motif, en la majeur, d’une grande douceur, enrobé d’accords arpéges, sera aussitôt repris légèrement varié. Lui fait suite un troisième motif en si bémol animé et staccato, débutant piano et s’exaltant jusqu’à un double forte martelé d’octaves.

extrait des notes rédigées par Jean-Paul Sévilla © 2006

Ronde champêtre wurde um 1870 komponiert und sollte ursprünglich zu den Pièces pittoresques gehören. Der Titel stammt wahrscheinlich—wie es auch bei anderen Stücken der Fall ist—nicht vom Komponisten selbst sondern vielmehr vom Herausgeber. Das Eröffnungsthema ist Poussahs Arie aus der Operette Fisch-Ton-Kan entnommen, die 1864 in Zusammenarbeit mit Paul Verlaine entstanden war. Dieses Thema, das in a-Moll steht und unausgewogen und sprunghaft wirkt, wird in Gestalt eines Refrains dreimal wiederholt. Ein zweites, sehr liebliches, von arpeggierten Akkorden umwickeltes Motiv in A-Dur kehrt fast unmittelbar darauf mit kleinen Variationen wieder. Es folgt ein drittes lebhaftes staccato-Motiv in B-Dur, welches im piano beginnt, bevor es sich schließlich zu einem in Oktaven herausgehämmerten doppelten forte hochschaukelt.

aus dem Begleittext von Jean-Paul Sévilla © 2006
Deutsch: Bettina Reinke-Welsh

Other albums featuring this work

Chabrier: Piano Music
This album is not yet available for downloadSACDA67515Super-Audio CD — Deleted
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