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Track(s) taken from CDA67696

Si bona suscepimus

4vv; Liber undecimus .xxvi. musicales habet modulos quatuor et quinque vocibus editos (Paris: Attaingnant, 1535) [March 1534 old style]. 1535/3
author of text
Job 2: 10; 1: 21

The Brabant Ensemble, Stephen Rice (conductor)
Recording details: August 2008
The Chapel of Harcourt Hill campus, Oxford Brookes University, United Kingdom
Produced by Jeremy Summerly
Engineered by Justin Lowe
Release date: August 2009
Total duration: 5 minutes 37 seconds

Cover artwork: Job mocked by his wife by Georges de la Tour (1593-1652)
Musée départemental des Vosges, Épinal, France / Lauros / Giraudon / Bridgeman Art Library, London
Si bona suscepimus  [5'37]


'There are many laurels to award in this column, but arguably the biggest, shiniest and bushiest wreath should land on Stephen Rice and his spirited Brabant Ensemble for their outstanding disc of works by Dominique Phinot. What a discovery! Extraordinary music, not least the 'secret chromatic art' exemplified in the motet Pater Peccavi, which deserves the widest hearing thanks to these sinuous, assured performance, captured in an edgy acoustic that enhances the curious architecture of the polyphony' (Choir & Organ)

'The Brabant Ensemble's performances of these fascinating works are as polished and assured as we have come to expect, full-throated yet finely modelled and shimmering with lively intelligence. Rice unerringly finds the right pace for each work … and pays full heed to Phinot's expressive use of contrasting textures. Amidst all the drama of the larger works, the ensemble's caressing, translucent rendition of O sacrum convivium is a particular high point. This is a valuable and engrossing premiere for a neglected and somewhat unconventional sixteenth-century master' (International Record Review)

'Rice has outdone his achievement of the first five discs with this fascinating and rewarding offering. If you have not discovered the Brabant Ensemble yet, by all means start here' (Fanfare, USA)

'If you are to make an investment into a new or unknown composer you need to be able to trust the performers. With the Brabant Ensemble and the musicianship and prowess of Stephen Rice you know that you are in safe hands … awards. They have a gloriously fresh, yet intensely expressive sound, intonation is miraculous and they are aided on each occasion by a superb acoustic and recording' (MusicWeb International)
Sermisy’s is one of a large group of settings of this extract from the book of Job, which evidently appealed to sixteenth-century composers for the pathos of its text. The formal plan of Sermisy’s motet is unusually sectional for the period, with several internal repetitions which combine with heavy use of homophony to add weight to the sentiments of the text. Most of the melodic phrases are set in ‘pair imitation’, for instance at the opening of the piece, where the top two voices sing a phrase in two-part counterpoint, which is then repeated by the lower two, with or without additional decoration. This technique was beloved of the preceding generation of composers: Josquin Desprez, and composers active in Milan such as Loyset Compère, are especially known for it. By the 1520s when Sermisy’s setting was presumably composed, this was a slightly archaic device, which combines with the frequent pauses such as those between ‘Dominus dedit’ and ‘Dominus abstulit’ to add poignancy to the suffering of Job.

from notes by Roger Jacob & Stephen Rice © 2009

Le motet de Sermisy s’inscrit dans un vaste corpus d’œuvres mettant en musique cet extrait du livre de Job, dont le pathos séduisit à l’évidence les compositeurs du XVIe siècle. Chose rare pour l’époque, le plan formel de ce motet est découpé en sections, plusieurs répétitions internes se mêlant à un abondant usage de l’homophonie pour ajouter du poids aux sentiments véhiculés par le texte. Les phrases mélodiques sont, pour l’essentiel, traitées en «imitation procédant de deux en deux voix», comme au début de la pièce, quand les deux voix supérieures chantent dans un contrepoint à deux parties une phrase ensuite reprise par les deux voix inférieures, avec ou sans ornementation supplémentaire. Cette technique était adorée de la génération précédente, notamment de Josquin Desprez et de compositeurs qui œuvrèrent à Milan comme Loyset Compère. Dans les années 1520, qui virent probablement naître le motet de Sermisy, c’était un procédé archaïsant, combiné ici avec de fréquentes pauses, comme celle entre «Dominus dedit» et «Dominus abstulit», pour ajouter du pathétique à la souffrance de Job.

extrait des notes rédigées par Roger Jacob & Stephen Rice © 2009
Français: Hypérion

Sermisys Stück ist eine von vielen Vertonungen dieser Passage aus dem Buch Hiob, das offenbar aufgrund des Texts mit seinem Pathos für die Komponisten des 16. Jahrhunderts besonders reizvoll war. Die formale Anlage der Motette Sermisys ist für ihre Zeit ungewöhnlich deutlich unterteilt, wobei mit mehreren Wiederholungen innerhalb der Struktur und häufigem Einsatz von Homophonie die Stimmung des Texts verstärkt wird. Die allermeisten melodischen Phrasen sind als Imitationspaare gesetzt, wie etwa zu Beginn des Stückes, wenn die beiden Oberstimmen eine Phrase im zweistimmigen Kontrapunkt singen, der dann von den beiden Unterstimmen sowohl mit als auch ohne extra Verzierungen wiederholt wird. Diese Technik war unter den Komponisten der Generation vor ihm besonders beliebt: insbesondere Josquin Desprez und in Mailand wirkende Komponisten wie etwa Loyset Compère sind dafür bekannt. In den 20er Jahren des 16. Jahrhunderts, als Sermisy wohl seine Vertonung komponierte, war es bereits ein etwas veraltetes Stilmittel, das zusammen mit den häufigen Pausen—wie etwa zwischen „Dominus dedit“ und „Dominus abstulit“—auftritt und so das Leid des Hiob besonders bewegend darstellt.

aus dem Begleittext von Roger Jacob & Stephen Rice © 2009
Deutsch: Viola Scheffel

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