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Track(s) taken from CDA67441/2

Scènes de la csárda No 2 'Kis furulyám', Op 13


Hagai Shaham (violin), Arnon Erez (piano)
Recording details: April 1998
Jerusalem Music Centre, Israel
Produced by Eric Wen
Engineered by Vadim Beili
Release date: March 2004
Total duration: 10 minutes 32 seconds


'If ever there were a case of 'the singer, not the song' it's here with these Scènes de la csárda, attractive music played with the sort of heart-tugging abandon that many of us only know from old 78s. A happy tale from start to finish, kitsch of the highest order served with style and panache by Shaham and his excellent pianist Arnon Erez. With comprehensive annotation by Amnon Shaham and first rate production by Eric Wen (a fine violinist and teacher) this seems set to become a benchmark recording' (Gramophone)

'It's music that needs passionate advocacy if it's not to sound trite, and Hagai Shaham, who's already made an outstanding disc of two of Hubay's Violin Concertos, has it in his soul' (BBC Music Magazine)

'Hagai Shaham has tremendous flair, extraordinary technical facility, and an organic musical sense that makes it difficult to stop listening' (American Record Guide)

'The quality and commitment of the playing, beautifully recorded, gives considerable if unchallenging pleasure' (The Strad)

'Hagai Shaham's achievement here is heroic, and a monument to violin playing … if you are a violin sort of person, and the repertoire appeals, then buy these discs with confidence, as a tribute to a unique act of devotion to the cause by Shaham and Erez' (Fanfare, USA)

'Scènes de la csárda could certainly be one of the records of the year' (Classical Source)

'Voici sans doute le plus bel hommage rendu au père fondateur de l'école hongroise de violon … un répertoire rare, servi de magistrale façon' (Diapason, France)
No 2 opens with an improvisatory prelude based on a gypsy tune, and later exploits a modal character through the use of the sharpened fourth. The romantic second theme accompanied by arpeggios and chords in the high register of the piano leads eventually into a lively dance theme stated by the violin, and followed by nine variations, before ending with a fast and furious coda.

from notes by Amnon Shaham © 2004

La deuxième scène, «Ma petite flûte», commence par un prélude improvisé, basé sur un air gitan, puis il adopte un caractère modal par le quatrième degré augmenté de la gamme. Le thème, romantique, accompagné par des arpèges et des accords dans les notes aiguës du piano, mène finalement à une danse animée affirmée par le violon, et suivie par neuf variations, pour se terminer sur une coda furieuse et mouvementée.

extrait des notes rédigées par Amnon Shaham © 2004
Français: Marie Luccheta

Nr. 2, „Meine kleine Flöte“, beginnt mit einem improvisatorischen Vorspiel, das auf einer Zigeunermelodie basiert und später durch die Tonleiter mit einer übermäßigen Quart einen modalen Charakter annimmt. Das romantische zweite Thema wird von Arpeggien und Akkorden im hohen Register des Klaviers begleitet und leitet zu einem lebhaften Tanzthema hin, das von der Violine gespielt wird und auf das neun Variationen folgen, bevor das Stück mit einer schnellen und furiosen Coda endet.

aus dem Begleittext von Amnon Shaham © 2004
Deutsch: Viola Scheffel

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