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Hyperion Records

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Michael by Arild Rosenkrantz (1870-1964)
Courtesy of Peter Nahum at The Leicester Galleries, London / Private Collection, Denmark
Track(s) taken from CDA67832
Recording details: July 2010
Trinity College Chapel, Cambridge, United Kingdom
Produced by Adrian Peacock
Engineered by David Hinitt
Release date: July 2011
Total duration: 10 minutes 17 seconds

'In the fourth year of Stephen Layton's directorship the Trinity choir's sense of corporate ease and confidence is such that nothing phases them. The singing is beautifully blended, the parts sensitively balanced, the absence of spurious vibrato a constant pleasure. Typically outstanding Hyperion sound caps this warmly recommendable issue' (BBC Music Magazine)

'Maestro Layton is a master of shading and dynamic control, so there's always a sense of ebb and flow to the glowing harmonies that animate this music' (American Record Guide)

'First, a health warning: it is impossible to do anything else but listen once the opening track of this glorious album begins … here is music making of the highest quality. I don’t have the space to mention all of the choral wonders on this disc but I can say with certainty that it is an album that will repay repeated listening for years to come' (Classic FM Magazine)

Hildegard Triptych
composer
No 1: 17 April 1997; No 2: 14 September 1997; No 3: 19 November 1997; SATB SATB divisi, unaccompanied; dedicated to Dale Warland
author of text

Introduction  EnglishFrançaisDeutsch
The Hildegard Triptych is a challenging set of works set for double choir, and represents just one part of a significant body of choral and organ works inspired by the great medieval mystic. O virtus sapientiae recalls the music of Hildegard as well as the text, opening with an exchange of organum duplum phrases which rapidly expands to encompass the whole choir, decorated with florid melisma. The extraordinary pan-tonal opening of Caritas abundat brings the meditative works of Messiaen immediately to mind, invoking a tantalizing vision of a thousand years of mysticism squeezed into three minutes of music; and O vis aeternitatis, announcing itself with a prolonged bare fifth, opens the set in a medieval idiom, this time with the homophony of the conductus style.

from notes by Gabriel Crouch © 2011

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