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Track(s) taken from CDA67236

Sonata No 5 in C major, BuxWV256

circa 1694; No 5 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 30 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 fifth sonata in C opens with a fugal movement that stresses repeated-note semiquaver figuration. The following section dispenses with the viola da gamba, which rejoins at the Largo, leading to a gigue-like Allegro (the numerous dynamic contrasts indicated by the composer), another freely modulating Adagio and a final extended Allegro.

from notes by Francis Knights © 2002

La cinquième sonate, en ut, débute par un mouvement fugué privilégiant une figuration en doubles croches répétées. Absente de la section suivante, la viole de gambe revient pour le Largo qui mène à un Allegro proche de la gigue (les nombreux contrastes dynamiques sont précisés par le compositeur), puis à un nouvel Adagio modulant librement et à un long Allegro final.

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

Die fünfte Sonate in C beginnt mit einem fugalen Satz, der die Betonung auf eine Figuration mit Sechzehntelnoten-Wiederholungen legt. Der dann folgende Abschnitt verzichtet auf die Viola da Gamba, die dann im Largo wieder hinzukommt. Und dies führt zu einem gigue-ähnlichen Allegro, (bei dem die zahlreichen dynamischen Kontraste durch den Komponisten angegeben werden), zu einem weiteren fein modulierenden Adagio und einem abschließenden, ausgedehnten Allegro.

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

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