Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.
Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.
Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.
Taverner died in 1545 and was buried beneath the famous ‘stump’ of Boston church.
As the undisputed master of his generation, Taverner witnessed and greatly contributed to the final phase in the development of the florid style that had dominated English sacred music since the death of John Dunstable in 1453. If the works of Taverner’s immediate precursor, William Cornysh (died 1523), represent the peak of sheer virtuosity, those of Taverner himself seem to proceed along a rather more serene path regulated as much by harmonic considerations as purely melodic ones.
The music of the generation before Taverner—for instance the unequivocally medieval florid writing of the Eton Choirbook—is the glorious culmination of a predominantly insular culture, developed and sustained in those great choral institutions which had been founded or substantially expanded in the fifteenth century. Some of Taverner’s music remains firmly in this late-medieval tradition as regards form and aesthetic, even if the style is stripped of some of its florid detail. But in other works (presumably the later ones) there is evidence of a growing awareness of contemporary continental features, particularly in the systematic use of imitation, and a tendency towards clarity of texture and simplification of rhythm and line.
The music of Taverner, taken as a whole, represents the final development of the florid late-medieval English style, coupled with the assimilation of new aesthetic and technical features which indicate the growing influence of continental thought and practice. Individual works embody these two facets of Taverner’s music in varying degrees, depending mainly on liturgical form and function, but also, to a certain extent, on their chronological position within the composer’s output.
from notes by Sally Dunkley © 2000