Record Labels Archives: Hyperion

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Hough’s Brilliant Dvorák and So-So Schumann

Dvorák's Piano Concerto still suffers from a lack of compelling advocacy among major pianists, making this exceptional new versio...
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Anglos In America

A picture of an American flag and a (near-microscopic) list of four prominent 20th-century American composers on the cover leaves ...

Under the Radar: Monteverdi Vespers from King

It's curious, but this this splendid set never seems to come up in discussions of the best versions of Monteverdi's Vespers. It co...

Monterverdi’s Marvelous Sacred Music

Considering his influence and output it's incredible that, with the exception of the 1610 Vespers (of which there are nearly two d...
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Ohlsson Revisits Debussy’s Etudes

In most respects Garrick Ohlsson’s Hyperion remake of the Debussy Etudes differs from his earlier Arabesque version released in ...
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Steven Osborne’s Intelligent, Tasteful Schubert

A seemingly fresh approach to a familiar piece often results from a pianist paying unusual attention to details in a score that ot...
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Filling In The Gaps: Handel’s Magnificent “Parnasso”

Parnasso in Festa might best be translated as "The Gods Throw A Party." Composed in 1734 for the wedding of Princess Anne to Princ...

Major Discoveries: Cello Music by Magnard, Koechlin & Widor

Cellist Mats Lindström and pianist Bengt Forsberg excel in this stimulating exploration of off-the-beaten-path French cello music...
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Leonore Does Lalo (Piano Trios, That Is!)

You really want to like Edouard Lalo’s first two piano trios. The composer writes supremely well for violin, cello, and piano, a...
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A 2015 Top Ten Selection: Gorgeous Grieg from Stephen Hough

It’s rare for a pianist to reveal familiar repertoire in fresh and newly minted ways without being willful, eccentric, or unorth...