Schmerz Beim Kind

Over 175 hours of music, featuring recordings by over 250 of the greatest Beethoven performers, ranging from Karl Böhm to Alfred Brendel, Claudio Arrau to the Amadeus Quartet, Wilhelm Furtwängler to Dietrich Fischer-Dieskau, Emil Gilels to John Eliot Gardiner, Wilhelm Kempff to Herbert von Karajan, Yehudi Menuhin to Anne-Sophie Mutter, and Murray Perahia to Maurizio Pollini. Includes more than two hours of newly recorded music including several world premieres with Lang Lang, Daniel Hope and Tobias Koch. Over 30 discs of alternative recordings including historic performances and period instrument recordings. Limited & Numbered Edition.

Over 175 hours of music, featuring recordings by over 250 of the greatest Beethoven performers, ranging from Karl Böhm to Alfred Brendel, Claudio Arrau to the Amadeus Quartet, Wilhelm Furtwängler to Dietrich Fischer-Dieskau, Emil Gilels to John Eliot Gardiner, Wilhelm Kempff to Herbert von Karajan, Yehudi Menuhin to Anne-Sophie Mutter, and Murray Perahia to Maurizio Pollini. Includes more than two hours of newly recorded music including several world premieres with Lang Lang, Daniel Hope and Tobias Koch. Over 30 discs of alternative recordings including historic performances and period instrument recordings. Limited & Numbered Edition.

In the autumn of 2005 Hyperion released their complete Schubert song edition, some 18 years after they started recording. The composition of these songs spanned the same number of years. Between Lebenstraum … gesang in c”, a fragment dating from 1810 when he was thirteen and Der Taubenpost written a few weeks before his death late in 1828, Schubert set over 700 texts, mostly solo songs but also part songs and for ensemble. Almost all were with piano accompaniment. Everything that has survived is included

Christian Ludwig Boxberg (1670-1729) belongs to the 'lost' generation of composers between Schütz and Bach. For decades, the revival of baroque music has concentrated on these two poles of German Baroque music to such an extent that everything between them can appear imperfect by comparison. Boxberg's 'Sardanapalus', however, is by no means imperfect. On the contrary, we experience here a remarkable synthesis of the various European national styles. Alongside German influences, those of both French and Italian opera are unmistakeable. The very witty libretto was written by Boxberg himself, and retells Diodorus's history of the profligate Assyrian King Sardanapalus who, far from being interested in ruling the land, liked to put on makeup, parade about in women's clothing and give in to acts of salaciousness with both women and men.

Christian Ludwig Boxberg (1670-1729) belongs to the 'lost' generation of composers between Schütz and Bach. For decades, the revival of baroque music has concentrated on these two poles of German Baroque music to such an extent that everything between them can appear imperfect by comparison. Boxberg's 'Sardanapalus', however, is by no means imperfect. On the contrary, we experience here a remarkable synthesis of the various European national styles. Alongside German influences, those of both French and Italian opera are unmistakeable. The very witty libretto was written by Boxberg himself, and retells Diodorus's history of the profligate Assyrian King Sardanapalus who, far from being interested in ruling the land, liked to put on makeup, parade about in women's clothing and give in to acts of salaciousness with both women and men.

Authoritative and comprehensive, this 55CD set presents a unique period in human history: a period when brilliant recorded sound on LP & CD, plus radio, TV, film and live all combined to offer huge new opportunities for singers, record labels and producers to expand the audience for classical music.