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.
Lessons with Salieri were probably quite sporadic; in his later years Salieri set aside three mornings a week to give free tuition to talented young composers and singers, and Beethoven continued to take advantage of this generosity at a surprisingly late stage in his development. We know this from the aria No, non turbati, which was composed under Salieri’s supervision between 1801 and 1802, by which time Beethoven had already composed many important works, including his first symphony, the first two piano concertos, Die Geschöpfe des Prometheus and indeed the concert aria Ah! Perfido. The autograph manuscript even contains Salieri’s corrections, although in truth not all of his changes are improvements. The work is scored for soprano and strings, and the text is taken from Metastasio’s La tempesta. In the opening accompanied recitative Beethoven seizes the various opportunities to evoke in his orchestral writing the thunderstorm that is brewing, and this is carried through into the aria, marked ‘andante agitato’, in which the poet, having persuaded his beloved Nice to take shelter with him in a nearby cave, seeks to pursue his amorous ambitions.
from notes by Ian Page © 2017
Leading British soprano Sophie Bevan performs a sumptuous programme of concert arias by Mozart, Haydn and Beethoven. Bevan is accompanied on this new recording by The Mozartists, recently launched by Ian Page’s internationally renowned period ense ...» More