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Track(s) taken from CDH55052

Audivi vocem de caelo

composer
author of text
Matthew 25: 4-6; Respond at Matins on All Saints' Day

The Sixteen, Harry Christophers (conductor)
Recording details: March 1984
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell
Release date: September 1987
Total duration: 4 minutes 16 seconds
 
1
Audivi vocem de caelo  [4'16]

Reviews

'These reissues epitomise the qualities that make The Sixteen one of Britain's outstanding choral groups: distilled purity of sound: impeccable ensemble and intonation; long-breathed lines. Harry Christophers takes an introspective view of Taverner's monumental Missa Gloria tibi Trinitas, producing a performance of untrammelled serenity' (BBC Music Magazine)

'Marvellous music…well worth reissuing' (Early Music Review)
Taverner’s setting of the Matins responsory for All Saints’ Day, Audivi vocem de caelo, follows the well-established pattern of plainchant alternating with polyphony which incorporates the chant as a cantus firmus. Its unusual scoring for four high voices may be attributable to the liturgical custom associated with All Saints’ Day, whereby the responsory was sung by a group of five boys supposedly representing the five virgins described in the lesson immediately preceding. In fact one of the lower parts is not the work of Taverner, but was added ad placitum by a colleague at Cardinal College, William Whytbroke.

from notes by Sally Dunkley © 2000

Dans sa mise en musique du répons des matines de la Toussaint, Audi vocem de caelo, Tavemer suit le schéma bien établi de l’alternance du plain-chant avec la polyphonie, qui incorpore le chant grégorien sous forme de cantus firmus. Son inhabituelle écriture pour quatre voix aiguës tient peut être à la coutume liturgique associée au jour de la Toussaint, qui voulait que le répons fût chanté par un groupe de cinq garçons censés représenter les cinq vierges décrites dans la leçon immédiatement antérieure. En réalité, l’une des parties inférieures n’est pas l’œuvre de Taverner, mais un ajout ad placitum effectué par un de ses collègues à Cardinal College, William Whytbroke.

extrait des notes rédigées par Sally Dunkley © 2000
Français: Hypérion

Audivi vocem de caelo, Taverners Vertonung des Matutinresponsoriums für Allerheiligen folgt dem altbewährten Schema: Choralgesang wechselt mit Polyphonie ab, die den Choral als Cantus firmus enthält. Ihr ungewöhnlicher Satz für vier hohe Stimmen mag dem mit Allerheiligen verbundenen liturgischen Brauch zuzuschreiben sein, demzufolge das Responsorium von einer Gruppe von fünf Knaben gesungen wurde, stellvertretend, so heißt es, für die fünf in der unmittelbar vorausgegangenen Lektion erwähnten Jungfrauen. Tatsächlich stammt eine der tieferen Stimmen nicht von Taverner, sondern wurde ad placitum von William Whytbroke hinzugefügt, einem seiner Kollegen am Cardinal College.

aus dem Begleittext von Sally Dunkley © 2000
Deutsch: Anne Steeb/Bernd Müller

Other albums featuring this work

The Sixteen & The Golden Age of Polyphony
CDS44401/1010CDs Boxed set (at a special price)
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