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Track(s) taken from CDA67344

Nun komm, der Heiden Heiland, BWV659

1708/17; revised into Leipzig Chorales collection, the '18' circa 1744/7

Piers Lane (piano)
Recording details: May 2002
Henry Wood Hall, London, United Kingdom
Produced by Amanda Hurton
Engineered by Arne Akselberg
Release date: April 2003
Total duration: 5 minutes 31 seconds

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


'Could hardly be more exhilarating or enterprising … a memorable as well as enticing disc' (Gramophone)

'Lane commands the golden tone and effortless, spirited virtuosity needed to make these transcriptions come alive, and makes them sound easy to boot. A honey of a release' (BBC Music Magazine)

'This is wonderfully crafted piano music, marvellously executed by Lane … the playing is always supremely fluid and musically enquiring … this is another fascinating release from Hyperion' (International Record Review)

'A truly fascinating disc … Lane clearly relishes in the amusing challenges, but he also makes you wonder at the immensity of Bach’s genius' (Classic FM Magazine)

'Wonderful music, consummately transcribed and movingly played' (International Piano)

'Piers Lane succombe à ce charme, et nous avec lui' (Classica, France)
Chorale Preludes may be seen as another form of transcription, since the themes on which they are based appear finally as part of a more elaborate and complex composition.

Bach set ‘Nun komm, der Heiden Heiland’ several times: it opens Cantatas 61 and 62 and appears as a duet in Cantata 36. There are five settings as a chorale prelude, and Friedman chooses the slowest and most expressive of them, heading it ‘Largo, maestoso e molto serioso’. His transcription follows the text quite faithfully, except for an odd little alteration of the inner voices in the last bar, and the words (a Lutherian translation of the Latin text) are beautifully mirrored ‘come, redeemer of mankind, whose birth … came from God to be the wonder of all the world’. The transcription inhabits very much the same world as Busoni’s.

from notes by Piers Lane © 2003

Les préludes de Chorals peuvent être considérés comme une autre forme de transcription puisque les thèmes sur lesquels ils sont élaborés apparaissent ensuite dans le cadre d’une composition plus élaborée et complexe. Bach mit plusieurs fois en musique «Nun komm’ der Heiden Heiland»: c’est par lui que débutent les Cantates nos61 et 62, et il apparaît sous la forme d’un duo dans la Cantate no36. Il existe cinq réalisations musicales du prélude de ce choral. Friedman a retenu celle qui est la plus lente et la plus expressive, indiquant «Largo, maestoso e molto serioso». Sa transcription suit le texte assez fidèlement, à l’exception d’une petite altération bizarre des voix intérieures lors de la dernière mesure. Les mots (une version allemande du texte latin) sont magnifiquement suggérés «Viens maintenant, Sauveur des païens, […] C’est pour que le monde s’émerveille que Dieu lui a commandé de naître ainsi.» Cette transcription habite le même univers que celle de Busoni.

extrait des notes rédigées par Piers Lane © 2003
Français: Isabelle Battioni

Choralvorspiele sind eine weitere Form der Transkription, da die Themen, auf denen sie basieren, schließlich als Teil einer komplexeren und ausgeschmückteren Komposition erscheinen. Bach vertonte den Choral „Nun komm, der Heiden Heiland“ mehrmals: er eröffnet die Kantaten 61 und 62 und erscheint als Duett in Kantate 36. Es gibt fünf Choralvorspiel-Fassungen und Friedman wählte die langsamste und expressivste und überschrieb sie mit „Largo, maestoso e molto serioso“. Seine Bearbeitung folgt dem Original recht treu, wenn man von einer eigenartigen kleinen Änderung der Innenstimmen im letzten Takt absieht, und spiegelt den Text (eine Luther-Übersetzung) auf wunderschöne Art und Weise wider. Diese Transkription steht derjenigen Busonis in ihrem Gestus sehr nahe.

aus dem Begleittext von Piers Lane © 2003
Deutsch: Viola Scheffel

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