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Track(s) taken from CDA66062

Christus factus est

composer
1884; third setting; dedicated to Fr Otto Loidol, Krems-münster; 4vv
author of text
Philippians 2: 8-9; Gradual for Maundy Thursday

Corydon Singers, Matthew Best (conductor)
Recording details: May 1982
St Alban's Church, Holborn, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell
Release date: April 1986
Total duration: 5 minutes 25 seconds
 
1
Christus factus est  [5'25]

Other recordings available for download

Polyphony, Stephen Layton (conductor)
St Paul's Cathedral Choir, John Scott (conductor)

Reviews

'A superb record. Exploring these pieces is a moving experience when the performances are as superlative as these. Very strongly recommended. Record of the Month' (The Monthly Guide to Recorded Music)
Christus factus est appeared in 1884—the same year as the Te Deum for chorus, four soloists, organ and orchestra. Harmonically this is more exploratory than the Mass in E minor, with some extraordinary modulations following the words ‘mortem autem crucis’ (‘even the death of the cross’)—a test of any choir’s security of pitch. More than any of Bruckner’s great motets, Christus factus est follows an almost symphonic path of motivic and harmonic development—a striking parallel to Christ’s journey of ‘obedience unto death’. All suggestion of triumphalism is avoided in the final reference to the ‘name which is above every name’.

from notes by Stephen Johnson © 2007

Christus factus est parut en 1884—l’année du Te Deum pour chœur, quatre solistes, orgue et orchestre. Harmoniquement parlant, cette œuvre est plus exploratoire que la Messe en mi mineur, avec d’extraordinaires modulations après les mots «mortem autem crucis» («mort sur la croix»)—un test pour la hauteur de son de tout chœur. Plus qu’aucun autre grand motet de Bruckner, Christus factus est a un développement motivique et harmonique presque symphonique—un saisissant parallèle avec le parcours du Christ, «de l’obéissance à la mort». La référence finale au «nom qui est au-dessus de tout nom» évite toute suggestion de triomphalisme.

extrait des notes rédigées par Stephen Johnson © 2007
Français: Hyperion Records Ltd

Christus factus est erschien 1884—im gleichen Jahr wie das Te Deum für Chor, vier Solisten, Orgel und Orchester. Harmonisch ist es experimentierfreudiger als die e-Moll-Messe, mit einigen außerordentlichen Modulationen, die den Worten „mortem autem crucis“ („Tod am Kreuze“) folgen—ein Test für die Intonationssicherheit aller Chöre. Mehr als alle anderen großen Motetten Bruckners folgt Christus factus est einem nahezu symphonischen Pfad motivischer und harmonischer Verarbeitung—eine bemerkenswerte Parallele zu Christi Weg der „Gehorsamkeit bis in den Tod“. Jedweder Anklang von Triumphalismus wird in der letzten Nennung des „Namens über alle Namen“ vermieden.

aus dem Begleittext von Stephen Johnson © 2007
Deutsch: Renate Wendel

Other albums featuring this work

Bruckner: Mass & Motets
CDA67629Archive Service
Passiontide at St Paul's
CDH55436
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