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Track(s) taken from CDA66400

O sacrum convivium

5vv ATTBarB
author of text
Antiphon for Second Vespers at Corpus Christi

Winchester Cathedral Choir, David Hill (conductor)
Recording details: July 1989
Winchester Cathedral, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell
Release date: February 1990
Total duration: 4 minutes 25 seconds

Cover artwork: The Nativity (detail) by Gérard David (active 1484-1523)

Other recordings available for download

The Tallis Scholars, Peter Phillips (conductor)
The Tallis Scholars, Peter Phillips (conductor)
Chapelle du Roi, Alistair Dixon (conductor)


'Never before has Spem in alium, Tallis's great 40-part motet, so closely resembled The Last Judgement as it does in this vast and awesome performance' (Gramophone)

'A thrilling large scale performance' (CDReview)

'A magnificent sound' (Daily Mail)
With Mary’s death in 1558 the Latin rite was officially defunct in England. Nonetheless, the young Elizabeth (herself a skilled musician) maintained Catholic sentiments and encouraged the continued composition of Latin-texted music, even though such works could never be officially sung in the church. In 1575 Elizabeth granted Thomas Tallis and William Byrd full privilege and licence for twenty-one years ‘to imprint any and so many as they will of set songe or songes in partes, either in English, Latine,... or other tongues that may serue for musicke either in Churche or chamber’. The collection, containing seventeen pieces by each composer, was reputedly presented to the Queen on Accession Day in 1575 on 17 November in the seventeenth year of her reign. Tallis’s selection was apparently retrospective, with Salvator mundi given pride of place at the head of the publication.

from notes by David Skinner © 1998

Avec la mort de Marie en 1558, disparut officiellement le rite latin en Angleterre. Toutefois, la jeune Elisabeth (elle-même musicienne confirmée) entretint des sentiments catholiques et encouragea la mise en musique de textes latins, bien que de telles oeuvres n’aient jamais pu être chantées de manière officielle lors d’un office. En 1575, Elisabeth accorda à Thomas Tallis et à William Byrd le privilège et la licence absolus pour une période de vingt et un ans ‘d’imprimer autant qu’il leur plairait de chants ou chants en parties séparées mis en musique, que ce soit en anglais, latin,... ou toutes autres langues convenant à la musique d’église ou de chambre’. La collection, qui comportait dix-sept oeuvres de chaque compositeur, est censée avoir été présentée à la reine le jour de son avènement, le 17 novembre 1575, dans la dix-septième année de son règne. Le choix de Tallis proposait apparemment une rétrospective, le Salvator mundi occupant la place d’honneur au début du recueil.

extrait des notes rédigées par David Skinner © 1998
Français: Myrna Brasey

Mit dem Tod Marys im Jahre 1558 erlosch auch die lateinische Liturgie in England. Dennoch ließ die junge Elizabeth (selbst eine gewandte Musikerin) auch die katholische Gesinnung gelten und befürwortete die Komposition lateinisch textierter Musik, selbst wenn diese niemals offiziell in Kirchen gesungen werden durfte. So gestand sie 1575 Thomas Tallis und William Byrd für 21 Jahre das Monopol und die Lizenz zu, ‘jedwede vertonte Dichtung oder Dichtungen gleich in welcher Zahl in Stimmen zu drucken, sowohl in Englisch, Latein,… als auch in jeder anderen Sprache, die der Musik dienlich sein mag, sowohl in der Kirche, als auch in der Kammer.’ Die erste Sammlung, Cantiones Sacrae, mit jeweils 17 Kompositionen beider Komponisten wurde der Regentin angeblich zum Jahrestag ihrer Thronbesteigung am 17. November 1575, im 17. Jahr ihrer Herrschaft überreicht. Wie der Ehrenplatz, den Salvator mundi am Anfang der Sammlung einnimmt, beweist, war die Auswahl von Tallis offensichtlich retrospektiv.

aus dem Begleittext von David Skinner © 1998
Deutsch: Matthias Lehmann

Colla morte di Maria, avvenuta nel 1558, il rito romano in Inghilterra ufficialmente scompare. Nondimeno, la giovine Elisabetta (musicista esperta ella stessa) conserva sentimenti cattolici ed incoraggia a continuare la composizione di musiche su testo latino, anche se tali lavori ufficialmente non possono esser mai cantati in chiesa. Nel 1575 la regina accorda a Thomas Tallis e ad William Byrd licenza e privilegio pieni per 21 anni ‘per stampare quali e quanti canti intonati od in partes essi vorranno, sia in inglese, latino [...] od in altre lingue che possano servire per la musica sia da chiesa che da camera.’ Una raccolta, contenente 17 lavori di ciaschedun compositore, vien presentata, a quel che si suppone, alla regina in quella stessa data (1575), anniversario della sua ascesa al trono, il 17 di novembre; quell’anno era anche il suo 17° di regno. La selezione di Tallis contenuta in quella raccolta era verosimilmente retrospettiva, col Salvator mundi che occupava il posto d’onore alla testa della pubblicazione.

David Skinner © 1998
Italiano: Bruno Meini

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