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Krenek: Reisebuch aus den österreichischen Alpen

Krenek: Reisebuch aus den österreichischen Alpen


Krenek:

Reisebuch aus den österreichischen Alpen

Zemlinsky:

In der Ferne (No. 6 of Sieben Lieder)

Wandl’ich im wald des Abends

Die schlanke Wasserlilie (No. 1 of Sieben Lieder)

Waldgespräch


Florian Boesch (baritone) & Roger Vignoles (piano)

Krenek’s wonderful travelogue is a real tour de force; a fusion of the remembrance of things past—the Schubertian landscape of Austria and its cultural history—with the music of the 1920s. The very special demands it makes of its performers are effortlessly negotiated by Florian Boesch and Roger Vignoles.

“a real treat, and confirms Krenek’s cycle as one of the great early modernist additions to the German lieder tradition...Boesch and Vignoles evoke this kaleidoscope of styles with fabulous naturalness and fierce dramatic intensity when needed.” The Guardian, 1st September 2016 ****

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Hyperion - CDA68158

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CPE Bach: Cello Concertos

CPE Bach: Cello Concertos


Bach, C P E:

Cello Concerto No. 1 in A minor, Wq. 170 (H432)

Cello Concerto No. 2 in B flat major, Wq. 171 (H436)

Cello Concerto No. 3 in A major, Wq. 172 (H439)


Nicolas Altstaedt (cello)

Arcangelo, Jonathan Cohen

The unpredictable and ‘fantastical’ qualities which are so fundamental to the music of C P E Bach are here given free rein by Nicolas Altstaedt, aided and abetted by Jonathan Cohen and Arcangelo in performances of astonishing brio.

“Whether intended for cello or harpsichord, these oeuvres are feverishly inventive” Financial Times, September 2016

“Nicolas Altstaedt and the sinewy warmth of his 1760 Gigli are a great fit for this often rather wild music…Arcangelo under Cohen breathe the music, capturing the frequent storminess but also bringing substantial dignity, their zing coming from their actual tone and lucid textural balance…a great listen” Gramophone Magazine, September 2016

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Hyperion - CDA68112

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Pierre de La Rue: Missa Nuncqua fue pena mayor & Missa Inviolata

Pierre de La Rue: Missa Nuncqua fue pena mayor & Missa Inviolata


Rue, P:

Missa Nuncqua fue pena mayor

Salve Regina VI

Missa Inviolata

Magnificat Tone VI


The Brabant Ensemble, Stephen Rice

Pierre de la Rue is another of those composers who contributed so prolifically to the richness of musical life in the Low Countries during the late fifteenth century. If today he is less well known than some of his contemporaries, the distinguished advocacy of Stephen Rice and The Brabant Ensemble should do much to redress the balance.

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Hyperion - CDA68150

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Friedman & Różycki: Piano Quintets

Friedman & Różycki: Piano Quintets


Friedman, I:

Piano Quintet in C minor

Rózycki:

Piano Quintet in C minor, Op. 35


Jonathan Plowright (piano)

Szymanowski Quartet

After his outstanding recording of the piano concertos, Jonathan Plowright—here partnered by the Szymanowski Quartet—returns to the music of Ludomir Różycki. The piano quintets of Różycki and Ignacy Friedman make the perfect late-Romantic piaring, especially when performed by such committed champions of Polish music.

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Hyperion - CDA68124

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Bernardinus Ribera: Magnificats & motets

Bernardinus Ribera: Magnificats & motets


Ribera, B:

Magnificat primus tonus

Magnificat secundus tonus

Rex autem David

Gloriosae virginis Mariae

Beata mater

Dimitte me ergo

Vox in Rama

Regina caeli

Virgo prudentissima

Conserva me, Domine

Assumpsit Jesus Petrum

Magnificat quartus tonus

Hodie completi sunt dies Pentecostes


De Profundis, David Skinner

All that remains of the choirbook in Toledo Cathedral devoted to the works of ‘Bernardinus Ribera’ is a magnificent, mutilated torso. These are premiere recordings of the surviving output of a forgotten figure from sixteenth-century Spain.

“[Ribera’s] music is well made in the best sense, and while much of it may be reminiscent of other composers it is not merely derivative…led by David Skinner and two-dozen strong, De Profundis sound robust and solemn rather than mournful…these solid, well-judged performances elevate Ribera from a mere footnote in music history to something more substantial” Gramophone Magazine, September 2016

“That the fine music of the Spanish Renaissance composer Bernardino de Ribera is neither famous nor plentiful is hardly his fault.the sonorous voices of De Profundis perfectly suit the beguilingly opulent textures and expressive lines.” Sunday Times, 21st August 2016

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Hyperion - CDA68141

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Beethoven - Piano Sonatas Volume 6

Beethoven - Piano Sonatas Volume 6


Beethoven:

Piano Sonata No. 9 in E major, Op. 14 No. 1

Piano Sonata No. 19 in G minor, Op. 49 No. 1

Piano Sonata No. 20 in G major, Op. 49 No. 2

Piano Sonata No. 16 in G major, Op. 31 No. 1

Piano Sonata No. 26 in E flat major, Op. 81a 'Les Adieux'


Another instalment of Angela Hewitt’s much-lauded Beethoven presents five piano sonatas, culminating with the masterly ‘Les adieux’. As usual, Angela’s booklet notes muse compellingly on the music, performance practice and all things Beethovenian.

“Angela Hewitt’s latest Beethoven recording comes with her customary intelligence and scrupulous attention to detail…her gently trotting minuet (its theme later cropped up in Beethoven’s popular Septet) is a real pleasure, and her subtle ornamentations in the theme’s various returns are a nice touch” BBC Music Magazine, September 2016 ***

“One can hardly fault Hewitt’s suave execution or her meticulous voice-leading and dynamic shadings in Les adieux’s first movement…after pouncing into the Rondo’s whirling introduction, she seemingly settles back when the movement’s main theme commences. Yet her biting accents, strong left-hand presence and shapely downward scales assiduously gather momentum and drive…I look forward to her cycle’s 10 remaining sonatas” Gramophone Magazine, August 2016

“Her playing has all the qualities one associates with her renowned Bach: crisp, clean articulation, sparing use of the pedals as if she is reimagining the music on the instruments Beethoven played...All pure delight.” Sunday Times, 7th August 2016

“there is much thoughtful and nuanced playing to savour in all five works here, not least the two little Op 49 sonatas.” The Guardian, 18th August 2016 ***

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Hyperion - Angela Hewitt Beethoven - CDA68131

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Machaut: A burning heart

Machaut: A burning heart


Machaut:

Hé, dame de vaillance

Cinc, un, trese

De souspirant/Tous corps qui de bien amer/Suspiro, M2

Helas, pour quoy se demente et complaint

Esperance qui m'asseüre, B13

Pas de tor en thies pais

Se mesdisans

Une vipere

Tuit mi penser

Plus dure que un dyamant

Vos dous resgars, douce dame, m'a mort

Se je me pleing, B15

Qui plus aimme/Aucune gent m'ont demandé/Fiat voluntas tua, M5


A third collection of songs on the theme of courtly love by Guillaume de Machaut. Throughout this series, the members of The Orlando Consort are proving the most committed of guides to the music and mores of fourteenth-century France.

“[A] very impressive recital” Gramophone Magazine, August 2016

“The idealised pains and pleasures of courtly love are captured with haunting intensity...All sing exquisitely.” The Guardian, 7th August 2016 ****

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Hyperion - CDA68103

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Reger: Songs

Reger: Songs


Reger:

Mein Traum, Op. 31 No. 5

Unbegehrt, Op. 31

Flieder, Op. 35 No. 4

Volkslied, Op. 37 No. 5

Glückes genug, Op. 37 No 3

Zwischen zwei Nächten, Op. 43 No. 1

Meinem Kinde, Op. 43 No. 3

Wiegenlied, Op. 43 No. 5

Sag es nicht, Op. 43 No. 8

Am Dorfsee, Op. 48 No. 6

Träume, träume, du mein süßes Leben!, Op. 51 No. 3

Zwei Gänse Zur weißen Gans sprach einst vertraulich eine graue, Op. 55 No. 8

Viola d'amour, Op. 55

Waldseligkeit, Op. 62 No. 2

Sehnsucht, Op. 66 No. 1

Morgen!, Op. 66 No. 12

Kindergeschichte, Op. 66 No. 12

Aeolsharfe, Op. 75 No. 11

Hat gesagt - bleibt's nicht dabei, Op. 75 No. 12

Du meines Herzens Krönelein, Op. 76 No. 1

Volkslied aus Franken – Waldeinsamkeit, Op. 76, No. 3

Wenn die Linde blüht, Op. 76 No. 4

Glück, Op. 76 No. 16

In einem Rosengärtelein, Op. 76 No. 18

Des Kindes Gebet, Op. 76 No. 22

Die Mutter spricht, Op. 76 No. 28

Das Wölklein, Op. 76 No. 33

Mittag, Op. 76 No. 35

Schelmenliedchen, Op. 76 No. 36

Mariä Wiegenlied, Op. 76 No. 52

Mausefangen, Op. 76 No. 58

Oben in dem Birnenbaum, Op. 76/59

Ehre sei Gott in der Höhe!


Sophie Bevan (soprano) & Malcolm Martineau (piano)

The sunset glow of Max Reger’s late Romanticism is perfectly suited to the lustrous soprano voice of Sophie Bevan, here making her Hyperion debut in a programme of thirty-three of his songs. Malcolm Martineau accompanies.

“His music doesn’t deserve its neglect, even if his settings of Meinem Kinde and Morgen won’t displace Strauss’s...[Bevan] is characterful in the song quoting Mendelssohn’s Wedding March ironically, as Mother advises her daughter to remain single.” Sunday Times

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Hyperion - CDA68057

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Taverner: Missa Mater Christi sanctissima & Western Wynde Mass

Taverner: Missa Mater Christi sanctissima & Western Wynde Mass


Taverner:

Mater Christi Sanctissima

Missa Mater Christi sanctissima

Mass 'The Western Wynde'


Two of the undisputed choral masterpieces from sixteenth-century England, by one of the greatest English composers: John Taverner’s Missa Mater Christi sanctissima and Western Wynde Mass. The five hundred years since the works’ genesis are but as a watch in the night in these sublime performances from Westminster Abbey Choir and James O’Donnell.

“These are very sound, lucid performances in every sense…in comparison with the Taverner Consort, James O’Donnell’s reading of Western Wynde is rather softer-centred, but…a work as resourcefully inventive as this both sustains and deserves such contrasting approaches” Gramophone Magazine, July 2016

“Taverner’s Missa Mater Christi sanctissima has rarely been recorded, not least because a missing tenor part needs reconstructive surgery. Francis Steele has brilliantly effected the rescue, transplanting where possible the tenor from the motet (also performed) on which the piece is based. It’s sung with luminescent warmth.” Sunday Times, 7th August 2016

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Hyperion - CDA68147

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The Classical Piano Concerto 3: F X Mozart & Clementi

The Classical Piano Concerto 3: F X Mozart & Clementi


Clementi:

Piano Concerto in C major, Op. 33, No. 3

Mozart, F X:

Piano Concerto No. 1 in C major, Op. 14

Piano Concerto No. 2 in E flat major, Op. 25


Howard Shelley (piano & conductor)

Sinfonieorchester St Gallen

Read Presto's complete review of this disc here

Franz Xaver Mozart was born just four months before the death of his father, Wolfgang Amadeus. A pianist of similarly precocious talent, he nevertheless wrote just two piano concertos: coupled with Clementi’s only surviving essay in the genre, they make a sparkling addition to our Classical Piano Concerto series.

“All three works receive splendid advocacy from Howard Shelley (a stalwart of Hyperion’s Romantic Piano Concerto series, and also a tireless champion of Clementi’s solo piano music) and the incisive St Gallen Symphony Orchestra, who offer especially piquant wind playing and some delightfully teasing rubato as the theme reappears time and again in the Rondo finale of the E flat concerto.” Presto Classical, 5th August 2016

“Shelley tucks into the solo part [of the First Concerto] with almost nonchalant ease, alive to every colour change as Franz Xaver darts momentarily into minor keys…the delightfully capricious rondo finale is given with tremendous élan…[he finds] a superb translucency [in the Second Concerto] even at the lowest register. He brings a real poignancy to the halting, minor-key slow movement, while the finale is brought to life with an unobtrusive felicity” Gramophone Magazine, August 2016

“His first piano concerto, from 1809, is a homage to Mozart senior’s Viennese concertos; bursting with sparkling pianism and delightful, lyrical themes, it could almost be an exercise in clever pastiche. The second, however, is more distinctly his own; noble and broad in conception with some bravura writing for the soloist, engagingly played here by the admirable Howard Shelley.” The Guardian, 4th September 2016 ****

Presto Disc of the Week

5th August 2016

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Hyperion The Classical Piano Concerto - CDA68126

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