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Track(s) taken from CDA67236

Sonata No 4 in B flat major, BuxWV255

circa 1694; No 4 of VII Suonate án doi, Violino & Violadagamba, con Cembalo, di Dieterico Buxtehude, Organista della Chiesa della Beat. Virg. N.S. in Lubeca, Opera Prima

Recording details: October 2000
St Michael's Church, Highgate, London, United Kingdom
Produced by Martin Compton
Engineered by Julian Millard
Release date: April 2002
Total duration: 8 minutes 32 seconds


‘Invigorating playing’ (BBC Music Magazine)

‘Needless to say, the performances are excellent’ (Early Music Review)

‘Wallfisch, Tunnicliffe and Paul Nicholson are highly proficient Baroque musicians’ (International Record Review)

‘Intimate, incisive and sometimes abrasively invigorating playing … Their interpretations are always imaginative and intelligent, their sense of style matches their technical command and their enthusiasm for the music is infectious’ (The Strad)

‘[The] players make much of both Buxtehude’s deeply expressive moments and brilliant passage work’ (Goldberg)

‘This is a truly exceptional recital, enthusiastically performed, and which finally realise the full potential of these extraordinary compositions’ (Hi-Fi Plus)

‘The three performers who make up the ensemble in Convivium are all excellent musicians in their own right, and work very well together. They present a fluid, unified sound, and their playing is very tight’ (MusicWeb International)
The B flat sonata opens with a lively Vivace built on a ground bass; the violin dominates the opening section, with the viola da gamba only entering at bar 18, a playfully virtuosic dialogue ensuing for the next 90 bars. This runs into a meditative Lento, then a concerto-like Allegro, brought to a close by double-stopping in the violin.

from notes by Francis Knights © 2002

La sonate en si bémol s’ouvre sur un Vivace animé construit sur une basse contrainte ; le violon domine la section introductive, la viole de gambe ne faisant son entrée qu’à la mesure 18, et les deux instruments s’amusent ensuite pendant quatre-vingt-dix mesures à rivaliser de virtuosité. Suivent un Lento méditatif puis un Allegro digne d’un concerto et se concluant par des doubles cordes au violon.

extrait des notes rédigées par Francis Knights © 2002
Français: Josée Bégaud

Die Sonate in B beginnt mit einem lebhaften, über einem Grundbass aufgebauten Vivace; die Violine beherrscht den Eröffnungsteil, die Gambe hat ihren Einsatz erst in Takt 18, und während der nächsten 90 Takte folgt ein verspielt virtuoser Dialog. Dieser geht dann in ein besinnliches Lento und danach in ein konzertantes Allegro über, das mit einem Doppelgriff im Violinenpart zum Abschluss gebracht wird.

aus dem Begleittext von Francis Knights © 2002
Deutsch: Atlas Translations

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