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.
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Tenor Allan Clayton, in his first solo recital for Hyperion, fearlessly scales the giddy heights (and gentler slopes) of Liszt Complete Songs Volume 5; Julius Drake tackles the equally challenging piano accompaniments with his usual aplomb. And if Antoine de Févin's Missa Ave Maria & Missa Salve sancta parens are today little known, then this new recording from The Brabant Ensemble under the ever-committed direction of Stephen Rice should go some way to rehabilitating the reputation of this Renaissance scion of the minor nobility, priest, singer and composer.
The English Concert and conductor Harry Bicket perform Concerti by Telemann, Tartini & others on a new album for Signum Classics. With solo contributions from varying combinations of two violins, viola, cello and oboe we have here a veritable showcase for the leading players of this most august of ensembles.
LSO Live once more finds Gianandrea Noseda at the helm of the London Symphony Orchestra. Shostakovich Symphony No 8 is a brutal testimony to the devastation of war and contains some of the most harrowing music the composer ever wrote. This acclaimed performance was recorded live in April 2018.
Making its debut on the Signum label is the Calidore String Quartet from America. Their programme is entitled Resilience – Quartets by Prokofiev, Janáček, Golijov & Mendelssohn, hard-fought works inviting us all to 'create beauty even in the darkest of circumstances'. A second album in Christopher Glynn's innovative 'Schubert in English' series pairs the powerful experience of Sir John Tomlinson with Schubert's Swansong—profound musical responses with texts to match.
A new release on the Mariinsky label this month presents Valery Gergiev's first recording of Stravinsky Petrushka. This iconic score finds the Mariinsky Orchestra on effervescent form, and is coupled with one of the composer's hidden gems, the witty Jeu de cartes.
Tenebrae, Nigel Short and the Aurora Orchestra join with mezzo-soprano Dame Sarah Connolly and narrator Simon Callow for A walk with Ivor Gurney, this varied Signum album exploring and developing the works of a composer whose career was shattered by his experiences of war.
Sir John Eliot Gardiner, a soloist-led Monteverdi Choir and The English Baroque Soloists spent much of 2017 performing Monteverdi's three surviving operas. Recorded at the culmination of their mini odyssey, this new SDG triple-album of Monteverdi's Il ritorno d'Ulisse in patria is a delight.
Julian Bliss joins the Carducci String Quartet for a second collaboration on Signum: the Clarinet Quintets by Mozart & Weber were composed in the two decades around the start of the nineteenth century and for players at the vanguard of their instrument's technical development, and remain icons of the repertoire. Praise my soul from Jesus College Choir Cambridge presents a spirited collection of favourite hymns old and new as chosen by new Director of Music Richard Pinel.
It is two years since the last instalment in this important series from The Tallis Scholars and Peter Phillips. The Josquin Masses here are 'Gaudeamus' and 'L'ami baudichon', the one a mathematical high-wire response to a substantial chant melody, the other intriguingly transforming a decidedly smutty text. The recording from Gimell is everything one would expect.
Sir Mark Elder and the Hallé Orchestra have recorded the two Elgar Wand of Youth suites, miniature masterpieces of nostalgia and melodic invention, and worthy additions to the composer's burgeoning discography on the Hallé label, now very much his modern-day home.
Soprano Grace Davidson has recorded all twenty-one songs from John Dowland's First Booke of Songs or Ayres with lutenist David Miller. Captured by the Signum microphones in the sensitive acoustic of Ascot Priory, these most intimate and expressive of songs—the smash hits of the first Elizabethan age—have lost nothing of their power over the intervening centuries.