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Track(s) taken from CDA67341/2


1913; composed at the request of Fauré as the ladies' sight-reading test at the Paris Conservatoire; dedicated to Jeanne Leleu, the winner of the competition

Angela Hewitt (piano)
Recording details: August 2001
Henry Wood Hall, London, United Kingdom
Produced by Ludger Böckenhoff
Engineered by Ludger Böckenhoff
Release date: April 2002
Total duration: 1 minutes 25 seconds

Cover artwork: Near St Tropez (1892) by Hubert de la Rochefoucauld
Galerie L'Ergasterre, Paris / Bridgeman Art Library, London

Other recordings available for download

Steven Osborne (piano)
Artur Pizarro (piano)


'Angela Hewitt plumbs Ravel's paradoxical qualities to perfection in this superb set. This magnificent survey … a treasure trove! Angela Hewitt joins Gieseking, Rogé, Thibaudet and Lortie among the most distinguished if entirely different Ravel cycles on record, and easily withstands comparison in such exalted company' (Gramophone)

'This newcomer from Hyperion is second to none and will now probably be a first choice for many collectors' (The Penguin Guide to Compact Discs)

'Hewitt’s is, unlike a number of other versions of Ravel’s œuvre, a highly worthwhile venture, full of stylish, intelligent playing' (International Record Review)

'Ravel trickles fluently through her fingers' (The Times)

'Hewitt reveals textural detail rarely heard in other performances … A thought-provoking set' (Classic FM Magazine)

'Delighful' (The Scotsman)

'unique qualities of tone, style, and conscientious craftsmanship' (Fanfare, USA)

'Hewitt’s control of tone colour is exemplary and the piano sound is warm and rounded … I recommend these discs to those wishing to acquaint themselves with some of Ravel’s lesser-known piano works as well as the more popular favourites' (Pianist)

'This is revelatory playing … Hewitt is never anything other than stimulating, probing, characterful and sensitive to both the individual nuance and broader perspective of each piece' (International Piano)

'she gets beneath the exotic surfaces of these pieces to expose their compelling musical structures' (Music Week)

'With these magnificent pieces, ranging from the well-known Gaspard de la Nuit to real curiosities, Hewitt proves her point: her colour range is vast, her touch compelling' (The Sunday Express)

'The restrained gestures, the delicate melodic ornaments, the harpsichord-like figurations, the subtle dance rhythms, the finely-balanced and beautifully engineered structures: Hewitt’s attention to such exquisite details is perfect' (MusicWeb International)

'Ravishingly beautiful and artistically satisfying … the whole is an offering not to be missed' (Musical Opinion)

'Hewitt’s finest work in this collection easily ranks with the catalog’s top contenders and deserves serious consideration' (Classics Today)

'ce qu’on observe d’abord en écoutant son intégrale Ravel, c’est son exactitude, sa précision, sa fidélité au texte' (Le Monde de la Musique, France)

'Revelatory playing that comprehensively challenges current perceived standards of Ravel keyboard interpretation to set alongside the greatest of the past masters … a landmark set that offers unbound opportunities to learn, discover and delight in' (Piano, Germany)
Ravel’s career as a student at the Paris Conservatoire was a chequered one, culminating in his notorious failure to win the Prix de Rome in 1905. But his teacher Gabriel Fauré, who became the Conservatoire’s director that year, to some extent made up for this in the years following by inviting him to provide test pieces and sit on various juries. His Prélude, for the ladies’ sight-reading test in 1913, takes a six-note motif from the third of his Mallarmé songs and presents it in modal attire. The winner of the whole competition was Jeanne Leleu who, as one of the pianists who had premiered Ma mère l’oye three years earlier, might be thought to have had an unfair advantage. Ravel was impressed by her performance of this Prélude too, and dedicated it to her.

from notes by Roger Nichols © 2011

Pendant ses études au Conservatoire de Paris, Ravel a connu une carrière en dents de scie, culminant dans son échec notoire au Prix de Rome en 1905. Mais son professeur Gabriel Fauré, qui est devenu directeur du Conservatoire cette même année, a compensé cet échec dans une certaine mesure au cours des années suivantes en commandant à Ravel des morceaux de concours et en l’invitant à siéger dans divers jurys. Son Prélude, pour l’épreuve de déchiffrage féminin en 1913, prend un motif de six notes de sa troisième mélodie sur des poèmes de Mallarmé et le présente sous forme modale. La lauréate de l’ensemble du concours fut Jeanne Leleu, l’une des pianistes qui avaient créé Ma mère l’oye trois ans plus tôt; peut-être avait-elle été injustement avantagée. Également impressionné par son exécution de son Prélude, Ravel le lui a dédié.

extrait des notes rédigées par Roger Nichols © 2011
Français: Marie-Stella Pâris

Ravels Karriere als Student am Pariser Conservatoire war abwechslungsreich—der Höhepunkt war sein berüchtigtes Scheitern im Wettbewerb um den Prix de Rome im Jahr 1905. Sein Lehrer Gabriel Fauré, der in dem Jahr Direktor des Conservatoire wurde, machte dies in den folgenden Jahren in gewisser Weise wieder gut, indem er ihn um Prüfungsstücke bat und ihn dazu einlud, verschiedenen Jurys beizuwohnen. In seinem Prélude, das für die Blattspiel-Prüfung der Damen im Jahr 1913 entstand, kommt ein sechstöniges Motiv aus dem dritten seiner Mallarmé-Lieder vor und wird in modaler Form präsentiert. Die Hauptpreisträgerin des Wettbewerbs, Jeanne Leleu, die als Pianistin die Uraufführung von Ma mère l’oye drei Jahre zuvor gegeben hatte, hatte vielleicht einen unlauteren Vorteil. Ravel war jedoch auch von ihrer Darbietung dieses Prélude beeindruckt und widmete es ihr.

aus dem Begleittext von Roger Nichols © 2011
Deutsch: Viola Scheffel

Other albums featuring this work

Ravel: The complete music for solo piano, Vol. 2
Studio Master: CKD315Download onlyStudio Master FLAC & ALAC downloads available
Ravel: The Complete Solo Piano Music
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