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Track(s) taken from CDA67359

Sonata in A minor 'La sassatelli', Op 5 No 10


The Parley of Instruments
Recording details: July 2002
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Martin Compton
Engineered by Julian Millard
Release date: March 2003
Total duration: 3 minutes 6 seconds


'Beautifully lyrical trumpet-playing' (BBC Music Magazine)

'Fascinating … Crispian Steele-Perkins and Alison Balsom play with an assured virtuosity' (The Daily Telegraph)

'It comes as no surprise to have a well researched, well presented and beautifully played issue from this team of artists and recording company. The trumpeters, representing the pioneering and the newest generations of players, are well matched and sparkling in their duets and share the solo works equally. It scarcely needs it, but this gets the warmest of recommendations' (Early Music Review)

'Soloists Crispian Steele-Perkins and Alison Balsam play with utmost delicacy and control' (Early Music Today)

'exemplary performances … The disc as a whole is not only extremely enjoyable in its own right, but is of value for illuminating a major development in the history of instrumental music' (Goldberg)

'Steele-Perkins and Balsom play throughout this recording as robustly and as sensitively as one could wish … Buy this disc' (Early Music)
As a contrast to the major-key and generally lively trumpet works, we have included some contemporary examples of four-part string sonatas. The sonata à quattro was less popular at the time than the ubiquitous trio sonata, and is rather neglected today, though it contains a wealth of fine music with a preponderance of introspective, minor-key works. It is also of interest in that the genre is the true ancestor of the Classical string quartet. The sonatas by Cazzati and Vitali are typical examples of Bolognese four-part sonatas: they are relatively brief, are full of dense counterpoint and have chromatic sections. Vitali was born in Bologna and studied with Cazzati, though he spent most of his career at the Modenese court.

from notes by Peter Holman © 2003

Afin de créer quelque contraste avec les œuvres pour trompette, écrites en majeur dans un esprit généralement animé, nous avons retenu quelques exemples de sonates pour cordes à quatre parties. La sonata à quattro était moins populaire à l’époque que l’omniprésente sonate en trio. De nos jours, elle est largement négligée alors que sa littérature est abondante, de haute tenue, riche en œuvres pensives écrites en mineur. Elle présente un intérêt supplémentaire, puisque ce genre est le véritable ancêtre du quatuor à cordes classique. Les Sonates de Cazzati et de Vitali sont des exemples typiques des sonates à quatre parties bolognaises: relativement concises, elles possèdent des sections chromatiques et fourmillent d’un contrepoint dense. Né à Bologne, Vitali étudia avec Cazzati avant de passer la plus grande partie de sa carrière à la cour de Modène.

extrait des notes rédigées par Peter Holman © 2003
Français: Isabelle Battioni

Als Kontrast zu den in Dur gehaltenen, generell schwungvollen Trompetenwerken haben wir einige zeitgleich entstandene Beispiele vierstimmiger Streichersonaten ins Programm aufgenommen. Die sonata à quattro war zu jener Zeit weniger beliebt als die allgegenwärtige Triosonate und wird auch heute eher vernachlässigt, obwohl sie eine Fülle herrlicher Musik in Form von mehrheitlich introspektiven Werken in Moll bereithält. Sie ist außerdem deshalb von Interesse, weil diese Gattung der wahre Vorläufer des Streichquartetts der Klassik ist. Die Sonaten von Cazzati und Vitali sind typische Beispiele vierstimmiger Sonaten aus Bologna: Sie sind relativ kurz, angefüllt mit dichtem Kontrapunkt und weisen chromatische Abschnitte auf. Vitali wurde in Bologna geboren und von Cazzati ausgebildet, verbrachte aber den überwiegenden Teil seines Berufslebens am Hof von Modena.

aus dem Begleittext von Peter Holman © 2003
Deutsch: Anne Steeb/Bernd Müller

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