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.
Strangely missing from CPE Bach’s list are Antonio Vivaldi and both Marcellos, the brothers Alessandro and Benedetto: Italian masters in whose music Bach undoubtedly took keen interest. Yet Bach (the elder) himself made explicit his penchant for the music of these composers through his arrangements of their concerti for solo keyboard: a set of sixteen concertos (BWV 972-987) composed between 1713 and 1714 exclusively comprises arrangements of other composers’ work, including six by Vivaldi; one, in C minor, after Benedetto Marcello’s Violin Concerto in E minor, Op 1 No 2; and the Concerto in D minor after Alessandro Marcello’s Oboe Concerto (frequently misattributed to Benedetto).
While presumably drawn to the expressive character of his Italian counterparts’ music (one surmises that the Brandenburg Concerti, in their dramatic power and instrumental panache, owe a debt to L’estro armonico), Bach’s keyboard arrangements are more than mere homage. The consummate keyboard virtuoso, Bach demonstrates in these transcriptions great imagination and originality in writing for his instrument. From the Marcello Oboe Concerto’s Andante e spiccato first movement, Bach unlocks a kaleidoscopic variety of keyboard textures, from razor-sharp two-part counterpoint to the dense fusillade of seven- and eight-voice chords that precedes its final cadence. Marcello’s luxuriously mournful Adagio is transfigured into an introspective soliloquy; notably, where Marcello provides melodic scaffolding for the oboist’s ornamentation, Bach notates his trills, turns, and flourishes, offering a lens into his art as a keyboard player. The Concerto’s Presto finale blazes with the Italianate fire that so entranced Bach: an element exquisitely translated in his Bach’s version.
from notes by Patrick Castillo © 2020
Alessio Bax performs a personal selection of piano works inspired by Italian composers through the centuries, from Bach's re-imagining of a Baroque oboe concerto, through works by Rachmaninov and Dallapiccola, and ending with two of Liszt's most c ...» More
|Concerti by Telemann, Tartini & others|
A diverse selection of concertos—by Dall'Abaco, Porpora, Marcello, Tartini and Telemann—from the first half of the eighteenth century, when a handful of elite court orchestras competed to recruit Europe’s foremost instrumentalists. This is the tra ...» More
|Five Italian Oboe Concertos|
‘Nicholas Daniel plays quite superbly’ (Gramophone)
‘Nicholas Daniel's playing, beautifully controlled and judiciously ornamented, makes it easy to listen again to a choice selection’ (Fanfare, USA)» More
|Bach, Busoni & Beethoven: Piano Recital|
This album is a perfect example of me as a musician and piano-fanatic choosing works that for as long as I can remember have blown my mind. [James Rhodes, 2010]» More
|Inside tracks - the James Rhodes mix tape|
A selection of James Rhodes' personal favourites, tracks taken from his four earlier Signum albums.» More
|Jimmy Rhodes Live in Brighton|
This new album—recorded live at The Old Market theatre in Brighton—captures the energy of Rhodes in concert as he performs and entertainingly discusses works by Bach, Beethoven, Chopin, Rachmaninov and more in this 85-minute programme.» More