Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.
Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.
Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.
What this level might be was not immediately clear. The clue came, however, at an exhibition of another painter: a superbly curated exhibition of the work of Vuillard, which I was fortunate enough to see in Montreal. As well as preparatory drawings for paintings, there were sometimes two or three versions on the same subject. Although there is only one painting of Dolbadarn Castle by Turner, I decided to take this approach—drawn from the visual arts—in writing the music.
I began with a set of 36 chords, like a sketch or outline for the composition. Having divided the chords into three equal groups, I composed a study with the first 12 chords. I then replicated the exact rhythms, dynamics and all musical features of the first section using notes derived from the other two sets of chords to create three separate studies to be performed as a whole without a break. Though this sounds like quite a technical approach, the result will be, I believe, clear to the listener. Each section begins quietly in a low register, builds to a climax and dies away—like an image seen from dawn to dusk. Three pictures of the castle emerge, each with the same essential features but viewed, as it were, at different times and in different weather conditions. The beginning and ending of each of these images can be clearly perceived. The modal nature of the music also helps to define the qualities of both the piece and the painting—simultaneously sombre, tranquil and majestic. Because of the particular nature of the musical construction, I was very keen that the music for the two instruments be as dramatic and idiomatic as possible, and I am grateful to Elinor Bennett (harp) and Nicola Thomas (cello) for their help in the final editing of the piece.
from notes by John Metcalf © 2009
|Metcalf: Paths of Song|
'Some truly moving and uplifting moments … Benefiting from an agile and assured performance by harpist Eleanor Turner, who shines throughout the ...
'Landscape and the spiritual elements of journeying inform much of the music of John Metcalf, particularly the hills and valleys of his native Wales, ...» More