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Track(s) taken from CDA67872

Sicilienne, Op 78

composed in 1893 for a production of Molière's Le bourgeois gentilhomme; rescored for cello and piano, among other combinations, in 1898 and dedicated to William Henry Squire; orchestrated version also used in Pelléas et Mélisande

Alban Gerhardt (cello), Cecile Licad (piano)
Recording details: October 2010
Concert Hall, Wyastone Estate, Monmouth, United Kingdom
Produced by Rachel Smith
Engineered by Simon Eadon
Release date: January 2012
Total duration: 3 minutes 53 seconds

Cover artwork: Landscape at Cagnes by Pierre-Auguste Renoir (1841-1919)
Private Collection / Photo © Lefevre Fine Art Ltd, London / Bridgeman Art Library, London

Other recordings available for download

Steven Isserlis (cello), Pascal Devoyon (piano)


'Gerhardt and Licad sound as free as air, intellectually confident, full of verve, with niceties of balance and intensities never an issue; a convincing frame of colour, movement and sound in place for every movement, every piece' (Gramophone)

'Visionary performers … one has a powerful sense of Alban Gerhardt's compelling grasp of architecture' (BBC Music Magazine)

'Gerhardt and Licad make a particularly fine duo here, working emotionally in unison, sensing the music's contours with like mind, breathing as one' (The Daily Telegraph)

'Like the works themselves, Gerhardt's playing and that of the pianist Cecile Licad is full of subtleties, the half-tones and inflections that make the chamber music of Fauré's final decade so elusive and fragile' (The Guardian)

'An arrestingly beautiful survey … this repertoire has been explored frequently and by some of the best, but seldom more persuasively than here … from every standpoint, Gerhardt's accounts of the sonatas seem exceptional, with their assured technical mastery and uncanny depth of insight … magnificent cello playing from Gerhardt, empathetically supportive accompaniments from Licad and a wonderfully natural and atmospheric recording to boot … recommended' (International Record Review)

'Both cello sonatas are rolled out effortlessly and with an abundance of colour … other short cello works, the delicious Élégie included, pad out this sizeable, and very satisfying, offering … a super recording' (The Scotsman)

'Alban Gerhardt has arrived at the ideal marriage of Fauré's refinement, essential reticence and the passion that lies just beneath the surface of the two cello sonatas' (Yorkshire Post)
When in 1893 a production of Molière’s Le bourgeois gentilhomme folded, leaving Fauré’s incidental music unheard, the composer took one piece from it and in 1898 recycled it twice, first in the London production of Maeterlinck’s Pelléas et Mélisande, then as a Sicilienne for various combinations. It is a delicate little piece, ending with a subtle juxtaposition of the keys of G minor and E flat major in which the main sections have been couched. It is dedicated to the English cellist William Henry Squire, who in 1898 was a member of the Queen’s Hall Orchestra and later toured with the contralto Clara Butt.

from notes by Roger Nichols © 2012

En 1893, après l’effondrement d’une production du Bourgeois gentilhomme de Molière, qui n’avait pas permis de jouer la musique de scène de Fauré, le compositeur en a tiré un morceau qu’il a recyclé à deux reprises en 1898, tout d’abord dans la production londonienne du Pelléas et Mélisande de Maeterlinck, puis comme une Sicilienne pour diverses combinaisons instrumentales. C’est une petite pièce délicate, qui se termine avec une subtile juxtaposition des tonalités de sol mineur et mi bémol majeur dans lesquelles les principales sections ont été couchées. Elle est dédiée au violoncelliste anglais William Henry Squire qui, en 1898, faisait partie de l’Orchestre du Queen’s Hall et a ensuite fait des tournées avec la contralto Clara Butt.

extrait des notes rédigées par Roger Nichols © 2012
Français: Marie-Stella Pâris

Als 1893 eine Inszenierung von Molières Le bourgeois gentilhomme scheiterte und Faurés Bühnenmusik deshalb unaufgeführt blieb, verwendete der Komponist im Jahre 1898 ein Stück daraus zweimal wieder, zunächst in der Londoner Inszenierung von Maeterlincks Pelléas et Mélisande und dann als Sicilienne für verschiedene Kombinationen. Es ist dies ein zartes kleines Stück, das mit einer subtilen Gegenüberstellung von g-Moll und Es-Dur endet, den Tonarten, in denen die beiden Hauptabschnitte jeweils stehen. Es ist dem englischen Cellisten William Henry Squire gewidmet, der 1898 Mitglied des Queen’s Hall Orchestra war und später zusammen mit der Altistin Clara Butt konzertierte.

aus dem Begleittext von Roger Nichols © 2012
Deutsch: Viola Scheffel

Other albums featuring this work

Fauré: Cello Sonata No 2 & other works
CDA66235Archive Service
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