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Track(s) taken from CDA67515

Feuillet d'album

first printed in a magazine supplement in 1890; published in 1897

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: 2 minutes 13 seconds

Other recordings available for download

Stephen Hough (piano)


'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)
There is no need to speculate on the characterization of Chabrier’s Feuillet d’album. Instructing the artist who was to illustrate the piece when it was first published as a supplement to a magazine in 1890, the composer described it as a ‘blonde and very pale little girl, dreamy and tender; that’s the feeling’. Another Parisienne, or so it seems from the way the slow waltz idiom anticipates Satie’s cabaret songs, she most touchingly equivocates between major and minor. After wandering into a harmonic dream world in the middle section she returns with her melody in octaves—which, as Poulenc observed in his admiring comment on ‘Chabrier’s most tender piece of music’, was one of the older composer’s favourites devices.

from notes by Gerald Larner © 2009

Nul besoin de spéculer sur la peinture de caractère du Feuillet d’Album de Chabrier, tant ce dernier fut précis dans ses instructions à l’artiste qui devait illustrer l’œuvre pour sa première publication (comme supplément à un magazine, en 1890): «une petite fille blonde et très pâle, rêveuse et attendrie; voilà le sentiment». Parisienne elle aussi, du moins par la manière dont l’idiome de valse lente anticipe les chansons de cabaret de Satie, cette valse équivoque de façon touchante entre majeur et mineur. Après avoir erré en un rêve harmonique dans la section centrale, elle revient avec sa mélodie en octaves—ce qui, comme le remarqua Poulenc dans son admiratif commentaire du «morceau de musique le plus attendrissant de Chabrier», était l’un des procédés préférés de ce compositeur.

extrait des notes rédigées par Gerald Larner © 2009
Français: Hypérion

Es wäre müßig, darüber zu spekulieren, was in Chabriers Feuillet d’album dargestellt wird. An den Künstler, der das Stück 1890 für die Erstausgabe in der Beilage eines Magazins illustrieren sollte, richtete Chabrier folgende Beschreibung: es handle sich um „ein kleines blondes und sehr blasses Mädchen, träumerisch und sanft; das ist hier der Ausdruck“. Offenbar auch eine Pariserin; den Eindruck vermittelt jedenfalls der langsame Walzerstil, der Saties Kabarett-Lieder vorwegnimmt und sie bewegt sich zweideutig zwischen Dur und Moll hin und her. Nachdem sie sich im Mittelteil in einer harmonischen Traumwelt ergeht, kehrt sie mit ihrer Melodie in Oktaven zurück, was, wie Poulenc anerkennend über „Chabriers sanftestes Musikstück“ bemerkte, ein Lieblingsstilmittel des älteren Komponisten war.

aus dem Begleittext von Gerald Larner © 2009
Deutsch: Viola Scheffel

Other albums featuring this work

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