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Track(s) taken from CDA67548

Nunc dimittis a 5

composer
author of text
Luke 2: 29-32

The Cardinall's Musick, Andrew Carwood (conductor)
Recording details: January 2005
Fitzalan Chapel, Arundel Castle, United Kingdom
Produced by Jonathan Freeman-Attwood
Engineered by Martin Haskell & Iestyn Rees
Release date: July 2005
Total duration: 3 minutes 15 seconds
 
1
Nunc dimittis a 5  [3'15]

Reviews

'In its entirety this disc is a sublime tribute both to one of England's greatest composers, and to the skill and conviction of one of today's finest ensembles' (Gramophone)

'This superbly sung selection of some of his finest Latin church music will surely prove to be one of Tallis's very best 500th birthday presents. It is hard to imagine a better performance of the magnificent six-part votive antiphon Gaude gloriosa' (The Daily Telegraph)

'This is the first manifestation of the new exclusive contract between Hyperion and the Cardinall's Musick. With Andrew Carwood's scholarly approach to Tudor music, coupled with the individual excellence of each of his singers and the superlative production values of Hyperion, I suspect this is going to be a very fruitful collaboration' (International Record Review)

'This is a highlight of the Tallis year' (Fanfare, USA)

'This marvellously full-throated performance can stand comparison with any … throughout, the performances maintain the high level The Cardinall's Musick have consistently displayed in their Byrd series, being beautifully tuned and balanced … a strong 5-star recommendation' (Goldberg)
One of the most difficult tasks facing the Tallis scholar is any attempt to impose chronological order on the composer’s output. The five-part Latin Magnificat and Nunc dimittis are especially problematic. They survive in a unique Elizabethan source but their style and form point to an earlier date of composition. Tallis adopts the usual practice of alternating chant with polyphony in the pre-Reformation style but there is no use of cantus firmus nor faburden. Furthermore the old-style melismas are not in evidence and there is a much greater use of syllabic writing, nor are there any sections for soloists or reduced forces as one might expect. Here also is a rather less euphonious Tallis at work than can be seen in the pieces more securely attributed to the reigns of Mary and Elizabeth. So the evidence seems to point to a compositional date late in Henry VIII’s reign.

from notes by Andrew Carwood © 2005

Lorsque l’on est spécialiste de Tallis, une des tâches les plus ardues consiste à tenter d’imposer un ordre chronologique à la production de ce compositeur, le Magnificat à cinq parties et le Nunc dimittis étant, à cet égard, particulièrement problématiques. Tous deux nous sont conservés dans une unique source élisabéthaine, mais leur style et leur forme indiquent une date de composition antérieure. Conformément à la pratique en vigueur, Tallis fait alterner le plain-chant et la polyphonie, dans le style de la pré-Réforme, mais n’utilise ni le cantus firmus ni le faburden. En outre, les mélismes de l’ancien style sont quasi absents, tandis que le recours à l’écriture syllabique est bien plus fréquent; contre toute attente, il n’y a pas non plus de sections adressées aux solistes ou à des forces réduites. Nous sommes ici en présence d’un Tallis moins euphonique que dans les pièces plus sûrement attribuées aux règnes de Marie et d’Élisabeth. Tous les indices s’accordent donc à situer le Magnificat et Nunc dimittis à la fin du règne de Henri VIII.

extrait des notes rédigées par Andrew Carwood © 2005
Français: Hypérion

Eine der schwersten Aufgaben für den Tallis Forscher ist es, das Oeuvre des Komponisten in eine chronologische Reihenfolge zu bringen. Das fünfstimmige lateinische Magnificat und Nunc dimittis sind besonders problematisch. Sie sind in einer einzigartigen elisabethanischen Quelle überliefert, doch weisen Stil und Form auf ein früheres Kompositionsdatum hin. Tallis arbeitet hier mit der üblichen Technik, bei der Choral und Polyphonie im vorreformatorischen Stil alterniert werden, doch wird weder ein Cantus firmus noch der Faburden eingesetzt. Zudem sind keinerlei Melismen des alten Stils erkennbar sondern viel mehr syllabische Textvertonung, noch gibt es Passagen für Solisten oder kleinere Besetzungen, wie man es erwarten könnte. Außerdem haben wir es hier mit einem weniger wohlklingenden Tallis zu tun als in den Werken, die der Herrschaft Marias und Elisabeths mit größerer Sicherheit zugeordnet werden können. Daher scheint alles darauf hinzuweisen, dass diese beiden Werke wohl noch unter Heinrich VIII. entstanden.

aus dem Begleittext von Andrew Carwood © 2005
Deutsch: Viola Scheffel

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