How do the Hyperion releases stack up against other, current mainstream classical records? Although there are only five titles in the series, they do offer two interesting points of comparison. A Feather On The Breath Of God introduced the wider world to both Abbess Hildegard Of Bingen and Hyperion Records. Originally released in 1982 it became an unlikely hit, selling over a million copies and establishing singer Emma Kirkby as an international star. In one sense it’s not hard to see why Hyperion would have included it in their short series of vinyl releases. On the other, originally released as both an LP and CD, second-hand copies are both plentiful and cheap.The re-issue is a somewhat heavier disc, my ‘80s original, pressed at the height of the fuel crisis, being considerably closer to 120g. It also recognises Hidegard’s elevation to Sainthood, following her recent beatification. One wonders whether that would have happened without the conspicuous success of Hyperion’s recording… Listening side by side it offers slightly more body and substance behind the voices, although it has to be said that the ethereal translucence of the original had a lot to do with its success. Is the re-issue better? For most listeners and on most systems there’ll be little to choose between them. But what the re-issue is is silent – which is more than can be guaranteed for a forty-year old original, bought second-hand. So, for those who don’t have this disc, or whose existing copy is getting tired, the re-issue is well worth considering.
Arguably more telling, is the juxtaposition of Angela Hewitt’s Goldbergs with Víkingur Ólafsson’s recent release on Deutsche Grammophon – especially given the benchmark status of DGG pressings and Hewitt’s reputation as a Bach stylist. Musically, the differences are fascinating, with Hewitt exhibiting a delicacy and sensitivity that eclipses Ólafsson’s rather more prosaic playing. There’s a fluidity and articulation to her phrasing that adds real depth to the surface simplicity of the pieces. So, on performance grounds, the Hyperion recording enjoys a clear edge. But when it comes to the quality of the record itself, DGG’s 180g vinyl is flatter and has noticeably quieter surfaces – although both pressings are free of clicks, pops or other spurious noise. The result is that the Ólafsson recording enjoys greater presence, a more stable image and greater dimensionality. On balance, if I was forced to choose I’d take the Hewitt, which has quickly become a favourite. But as it is, I’m pleased to have both in the collection, not least because of their different musical perspectives.
These Hyperion records are excellent offerings. They have selected sensible and worthwhile recordings, treading a fine line between interesting pieces and popular potboilers. Even Hildegard is hardly mainstream… The musicianship is (as usual with Hyperion) first rate and the surfaces are clean, if not as ghostly quiet as the best available (although well within the bounds of acceptability). The Ibragimova disc surprises and delights with its combination of a new take on an old favourite alongside an inspired reading of a neglected work. The Hewitt discs trade on the sheer excellence of her playing – and who is going to complain about that! Both are extremely welcome additions to the range of available vinyl, as is the Channel Classics Vivaldi record.
