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Schumann made an orchestral version of these songs between 27 October and 8 November 1841; they remain unpublished. One assumes that the piano versions pre-date the orchestrations, but this cannot be proved. ‘My first attempt at song composition with orchestra’ notes the composer in his Tagebuch. ‘Entflieh mit mir’ is scored for tenor, two flutes, oboes, horns in E, bassoons, strings and timpani. This version is two bars longer than the piano accompanied song. ‘Es fiel ein Reif’ is scored for soprano, two oboes, clarinets in A, horns in C, and strings. ‘Auf ihrem Grab’ is scored for soprano and tenor, two flutes, bassoon and strings, including two violas and cellos. In some reference works one finds the incorrect assertion that Tragödie was conceived as a piece for chorus and orchestra. The score makes clear that the composer had only solo voices in mind. The score of this version was long thought lost, but it re-emerged for auction at Sotheby’s in December 1991.
from notes by Graham Johnson © 2001
extrait des notes rédigées par Graham Johnson © 2010
Français: Marie-Stella Pâris
aus dem Begleittext von Graham Johnson © 2010
Deutsch: Henning Weber
|Schumann: The Complete Songs|
Schumann’s songs are among the greatest musical achievements of the nineteeth century, and this is the perfect release with which to mark the composer’s 200th birthday. This marvellous collection comprises Schumann’s complete songs, presented for ...» More
|Brahms & Schumann: Voices of the Night|
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|Schumann: The Complete Songs, Vol. 5 - Christopher Maltman|
'Hyperion’s Schumann series continues to strike gold with a collection … that finds baritone Christopher Maltman on superb form … with this ...
'This is a treasurable issue – generous in quality and quantity alike. As with the Hyperion Schubert Song edition one struggles for new ways of expres ...» More
|Schumann: Dichterliebe & other Heine Settings|
Why another Dichterliebe recording? Because Gerald Finley has simply one of the greatest voices of his generation, and is an artist at the peak of his powers. He brings to this noble cycle the supreme musical understanding that characterizes all his ...» More
|Schumann: The Complete Songs, Vol. 1 - Christine Schäfer|
'Schäfer evokes comparison with Elisabeth Schumann and with the young Elly Ameling, whom in tone and freshness of response she often resembles. In sum ...
'Her voice combines ethereal radiance and clarity with resolute, unwavering focus. Johnson's account of the piano parts is superlative [and] his bookl ...» More
|Schumann: The Complete Songs, Vol. 3 - Juliane Banse|
'An unqualified success … a glorious interpreter, warm-voiced and wholly in sympathy with the task in hand. The famous cycle Frauenliebe und Lebe ...
'The care that has gone into the literary and musicological side of the project is perfectly matched by the musical results. Banse proves to be a wond ...» More