Hyperion Concerto

Lars Anders Tomter - Ruders: Viola Concerto & Handel Variations (2018)

Lars Anders Tomter - Ruders: Viola Concerto & Handel Variations (2018)
Classical | WEB FLAC (tracks) & d. booklet | 277 MB
Label: Dacapo | Tracks: 08 | Time: 64:58 min

A tribute to inwardness, patience and beauty. This is how the Danish composer Poul Ruders (b. 1949) described his Viola Concerto from 1994. The music has an almost Late Romantic expressive style and is played with rich, many-faceted feeling by the Norwegian viola virtuoso Lars Anders Tomter. The work premiered at the BBC Proms in 1995, whereafter he rewrote the piece. This recording contains the revised 2013 version. It is devoted to the right and ability of music to stay aloof, maintaining its emotional integrity, detached from the tyranny of fashion and trend. In his Handel Variations (2009) Poul Ruders has composed no fewer than 90 variations on eight bars from Handels Water Music.
Diego Fasolis, Concerto Koln - Leonardo Vinci: Artaserse (2014)

Diego Fasolis, Concerto Köln - Leonardo Vinci: Artaserse (2014)
NTSC 16:9 (720x480) | Italiano (LinearPCM, 2 ch) | (Dolby AC3, 6 ch) | 201 min | 4,94+7,49 Gb (2xDVD9)
Classical | Label: Erato | Sub: Italiano, Francais, English, Deutsch | Recorded: 2012

“This magnificent production is a complete and blissful success. Don’t miss it.” Those were the words of the French website Classique News when Leonardo Vinci’s rediscovered Artaserse was staged by Silviu Purcãrete at the Opéra National de Lorraine in Nancy. Complementing the CD version of the opera released in Autumn 2012, this DVD features no fewer than five of the world’s leading countertenors – assuming both male and female roles: Philippe Jaroussky, Max Emanuel Cencic, Franco Fagioli, Valer Barna-Sabadus and Yuriy Mynenko.
Schnittke - Chamber Music: Piano Quintet etc. - Sarah Leonard, Capricorn, Timothy Mason (1996) {Hyperion CDA66885}

Schnittke - Chamber Music: Piano Quintet etc. - Sarah Leonard, Capricorn, Timothy Mason (1996) {Hyperion CDA66885}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 265 Mb | MP3 @320 -> 172 Mb
Full Artwork @ 300 dpi (png) -> 136 Mb | 5% repair rar
© 1996 Hyperion Records | CDA66885
Classical / Contemporary Classical / Chamber Music

The chamber works on this recording encompass a variety of instrumental groupings and a range of moods from the humour and lightness of the Serenade to the serious magnificence of the Piano Quintet, a five-movement ‘memorial’ developing the tradition of so great a work as Shostakovich’s single-movement work for this combination. The Three Madrigals set a three-language cycle of miniature poems by Francisco Tanzer, poems which themselves encapsulates much that is distinctively Schnittke through their epigrammatic atmosphere of cryptic completeness.
Steven Osborne - Sir Michael Tippett: Piano Concerto, Fantasia on a theme of Handel, Piano Sonatas (2007) 2CD [Repost]

Sir Michael Tippett: Piano Concerto, Fantasia on a theme of Handel, Piano Sonatas (2007)
Steven Osborne, piano; BBC Scottish Symphony Orchestra; Martyn Brabbins, conductor

EAC | FLAC | Image (Cue&Log) ~ 419 Mb | Mp3 (CBR320) ~ 324 Mb | Artwork included
Genre: Classical | Label: Hyperion | # CDA67461/2 | Time: 02:20:47

What the world needs more of is intelligently planned, stupendously played, and brilliantly recorded collections like this one. These two discs contain all the piano works of Michael Tippett, works that come from every period of the composer's very long life except his very last. It includes the youthful, tuneful Piano Sonata No. 1 written between 1936 and 1938 and revised in 1941, the massive Fantasia on a Theme of Handel from 1941, the exuberant Piano Concerto from 1955, the experimental Piano Sonata No. 2, the gnomic almost Beethovenian Piano Sonata No. 3 from 1973, and the gnarly post-Beethovenian Piano Sonata No. 4. It features a bravura performance by pianist Steven Osborne that makes the best case for all the music, no matter how outré or recherché its harmonic proclivities or rhythmic audacities. Osborne has the emotional enthusiasm, intellectual clarity, physical strength, and sheer willpower to make listeners believe that Tippett is a major English composer and make them wonder why they ever doubted it. With the superlative accompaniment of the BBC Scottish Symphony Orchestra under the direction of Martyn Brabbins in the Concerto and the Fantasia and the sparkling recording by Andrew Keener for Hyperion, this disc marks a major step forward in the Tippett discography.

Hyperion - Dangerous Days (2017)  Music

Posted by Andi_Deris at Jan. 12, 2018
Hyperion - Dangerous Days (2017)

Hyperion - Dangerous Days (2017)
EAC Rip | FLAC: Image+Cue+Log | 337 Mb | MP3 CBR 320 kbps | 113 Mb | Scans | 49 Mb | 44:35
Fighter Records | FIGHT 013 CD
Heavy Metal

Italian metallers Hyperion released "Dangerous Days" via Fighter Records in an attempt to recreate the pure, classic, typical heavy metal sound of the ’80s in the vein of bands like Judas Priest, Annihilator, Iron Maiden, Metallica, Megadeth… Hyperion have accomplished their mission – Dangerous Days sounds like it came straight from the 80’s. It has elements of all kinds of 80’s metal which you can hear from track to track. Each one differentiates itself from the others by having a slightly different style to it.
Alban Gerhardt & Markus Becker  - Rostropovich Encores (2017) {Hyperion CDA68136}

Alban Gerhardt & Markus Becker - Rostropovich Encores (2017) {Hyperion CDA68136}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 285 Mb | MP3 @320 -> 164 Mb
Full Artwork @ 300 dpi (png) -> 15 Mb | 5% repair rar
© 2017 Hyperion Records | CDA68136
Classical / Cello / Piano

An album of encores once played by someone else, even someone as famous as Mstislav Rostropovich, might seem an overspecialized product, but German cellist Alban Gerhardt had some success with a similar album devoted to Pablo Casals, and is now back for more. Gerhardt does a reasonable impression of Rostropovich's songful style, overlaid with a bit of mysterious and gloomy Russian philosophy. But the really innovative feature of the album is the program, which draws out the breadth of the great Russian's musical interests, even in the seemingly restricted feel of the encore.
Alexander Rudin, Musica Viva - Antonin Dvorak: Cello Concerto in A major; Serenade for Strings in E major (2013)

Antonín Dvořák: Cello Concerto in A major; Serenade for Strings in E major (2013)
Alexander Rudin, cello & direction; Musica Viva

EAC | FLAC | Image (Cue&Log) ~ 296 Mb | Mp3 (CBR320) ~ 151 Mb | Scans included
Genre: Classical | Label: Fuga Libera | # FUG714 | Time: 01:03:29

For their fourth Fuga Libera-project, the Russian orchestra Musica Viva recorded one very famous, and one forgotten piece by Antonín Dvorak. The well-known piece is the Serenade for Strings in E major, written by Dvorak in 1875. It is believed that Dvorak took up this small orchestral genre because it was less demanding than the symphony, but allowed for the provision of pleasure and entertainment. The other piece is the Cello Concerto in A major. Unlike its brother, the B minor Concerto Op.104, this concerto has been more than overlooked. It was left un-orchestrated by Dvorak, existing only in piano-score form. It was only after his death that a few composers orchestrated this dazzling piece of music. Cello virtuoso Alexander Rudin, and Musica Viva let us taste from this magnificent forgotten treasure…
Franz Xaver Scharwenka - Piano Music Vol.4 - Seta Tanyel (2003) {Hyperion-Helios CDH55134 rec 1995}

Franz Xaver Scharwenka - Piano Music Vol.4 - Seta Tanyel (2003) {Hyperion-Helios CDH55134 rec 1995}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 198 Mb | MP3 @320 -> 167 Mb
Full Artwork @ 300 dpi (png) -> 18 Mb | 5% repair rar
© 1995, 2003 Collins Classics / Hyperion Records / Helios | CDH55134
Classical / Romantic / Early 20th Century / Piano

'… brimful with alert character and beauty whilst the two piano pieces are delightful in their raucous melodies … briliantly done by Tanyel' (Classical Net Review). It was brave and useful and laudable of Seta Tanyel and the now-defunct label Collins Classics to have embarked, in the 1990s, in a thorough exploration of the music of Xaver Scharwenka (1850-1924), and one must be grateful to Hyperion to have reissued almost all of it. The 4-volume traversal of his solo piano music doesn't embrace I think Scharwenka's complete piano output, but it is still very substantial. Add to that the three first piano concertos (apparently Collins didn't live long enough to record the Fourth, and the first is the one disc that Hyperion did not reissue, Piano Concerto 1, obviously because they already had another one in their catalog, Rubinstein: Piano Concerto No. 4; Scharwenka: Piano Concerto No. 1) and what I think was the complete chamber music. However, I didn't always feel that the results lived up to the project's promises.
Markus Becker, Thierry Fischer - The Hyperion Romantic Piano Concerto, Vol. 55 - Widor: Piano Concertos (2011)

Markus Becker, Thierry Fischer - The Hyperion Romantic Piano Concerto, Vol. 55 - Widor: Piano Concertos (2011)
EAC | FLAC (log,tracks+cue) -> 265 Mb (5% Rec.) | Scans (covers+d.booklet) included
Classical | Label: Hyperion Records, CDA67817 | 2011 | 01:11:37

Charles-Marie Widor was born in Lyon to a family of organ builders and consequently became an organist of great skill and an assistant to Camille Saint-Saëns at La Madeleine in Paris at the age of twenty-four. Today, Widor's compositions for organ have a prominent position in the instrument's core repertoire, but it is often forgotten that the composer wrote many other significant works, notably his two piano concertos.
Marios Papadopoulos, Royal Philharmonic Orchestra - Stravinsky: Concerto, Janáček: Capriccio & Piano Sonata (1985)

Marios Papadopoulos, Royal Philharmonic Orchestra - Stravinsky: Concerto, Janáček: Capriccio & Piano Sonata (1985)
EAC | FLAC (image+.cue, log) | Covers + Digital booklet | 53:08 | 245 MB
Genre: Classical | Label: Hyperion | Catalog: CDA66167

Marios Papadopoulos plays Janacek's sonata with a gentle, romanticizing melancholy that is nature can well encompass, even if such an approach can diminish the work's sense of tragedy. It is a work with a tougher core than is here suggested. However, this is not an unattractive performance, and Papadopoulos seems more attuned to its manner than to the crisp assertions of the Capriccio or of Stravinsky's Concerto. It does not seem a good idea to attempt the Capriccio without a conductor. The admirable RPO players sound less than wholly comfortable, and their ensemble is a trifle precarious at times; moreover, the work's odd, sharp character does not emerge with sufficient definition.