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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.
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Recording details: March 1995
Hertford College Chapel, Oxford, United Kingdom
Produced by David Trendell
Engineered by Paul Proudman
Release date: April 2006
Total duration: 15 minutes 41 seconds
'Here's a vital and beautifully performed collection of modern a cappella choral music from a most excellent choir with a considerable recording history … it's not a surprise that Mr Summerly and his choir can handle fiendishly difficult modern music with all of the skill, authority and pleasing sound they bring to early music. Hyperion comes through again with a superior booklet and enviable recording quality' (American Record Guide)
'This disc offers considerable rewards in an admittedly parochial field, and also preserves a delectable snap-shot of the Schola Cantorum of Oxford on outstanding form, over a decade ago' (International Record Review)
'You may confidently invest in this disc. Its musical rewards are ample' (Fanfare, USA)
Francis Pott’s Amore langueo is a large-scale work for unaccompanied double choir and solo vocal quartet. It sets a fifteenth-century English lyric with a Latin refrain—indeed the refrain ‘Amore langueo’ (‘I am faint with love’) underlies the majority of the music in the piece. In terms of its scoring there are obvious English precursors from the beginning of the twentieth century in Vaughan Williams’s Fantasia on a Theme by Thomas Tallis (for double string orchestra and string quartet) and Vaughan Williams’s Mass in G minor (also for double choir and solo vocal quartet). However, although the undulating harmonies of Amore langueo frequently share more in common with the music of Arnold Bax and E J Moeran than with Vaughan Williams, there is a clarity and transparency about the music that Pott gives to the solo quartet in particular that binds this intricate setting to some of the most simple and directly affecting English music of the twentieth century.