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Missa Sicut lilium inter spinas

composer
author of text
Ordinary of the Mass

 
Sicut lilium by contrast is an early work, based on a motet which was published in the composer’s First Book of Motets in 1569. By contrast with the trumpet-like writing of Assumpta est Maria, the musical style here is more for string quartet, or viol consort: lucid, the working of the counterpoint at times very elaborate indeed. This can be heard at the beginning of the motet, where the point is treated to two complete expositions, from where it is transferred to the first Kyrie. Eventually all the movements except the Gloria open with imitative counterpoint. But underlying all this finely crafted polyphony is the perfumed atmosphere which the words of the motet (from the Song of Songs) originally inspired in Palestrina, and which, despite the long sentences of the Gloria and Creed, he managed to transfer to every corner of the Mass itself.

from notes by Peter Phillips © 2005

Sicut lilium est, par contraste, une oeuvre précoce fondée sur un motet paru dans le Premier Livre de motets de Palestrina (1569). Aux antipodes de l’écriture claironnante d’Assumpta est Maria, le style musical tient ici davantage du quatuor à cordes ou du consort de violes: lucide, avec un contrepoint parfois fort élaboré – ce qui s’entend en début de motet, où le point reçoit deux expositions complètes, avant d’être transféré, ensuite, au premier Kyrie. Au total, tous les mouvements, hormis le Gloria, s’ouvrent sur un contrepoint imitatif. Mais ce qui sous-tend toute cette polyphonie finement ciselée, c’est l’atmosphère raffinée que le texte du motet (extrait du Cantique des cantiques) inspira originellement à Palestrina – lequel, nonobstant les longues phrases du Gloria et du Credo, parvint à distiller cette ambiance dans les moindres recoins de la messe.

extrait des notes rédigées par Peter Phillips © 2005
Français: Gimell

Sicut lilium ist hingegen ein Frühwerk auf der Grundlage einer Motette, die 1569 im Ersten Buch der Motetten des Komponisten erschien. Im Gegensatz zur trompetenhaften Stimmführung in Assumpta est Maria gleicht der Musikstil hier eher dem für Streichquartett oder Gambenensemble: luzid, teils mit höchst kunstvoll ausgearbeitetem Kontrapunkt. Dies ist am Anfang der Motette herauszuhören, wo das Subjekt zwei kompletten Expositionen unterworfen wird, um dann ins erste Kyrie übertragen zu werden. Schließlich setzen alle Sätze außer dem Gloria mit imitativen Kontrapunkt ein. Doch all dieser kunstfertig ausgearbeiteten Polyphonie haftet die duftige Atmosphäre an, die der Text der Motette (Aus dem Hohelied Salomos) ursprünglich bei Palestrina anregte und die er trotz der langen Phrasen des Gloria und des Credo in jeden Winkel der Messe selbst zu übertragen wusste.

aus dem Begleittext von Peter Phillips © 2005
Deutsch: Anne Steeb/Bernd Müller

Recordings

Palestrina: The Tallis Scholars sing Palestrina
CDGIM2042CDs for the price of 1

Details

Movement 1: Kyrie
Track 9 on CDGIM204 CD1 [3'42] 2CDs for the price of 1
Movement 2: Gloria
Track 10 on CDGIM204 CD1 [6'12] 2CDs for the price of 1
Movement 3: Credo
Track 11 on CDGIM204 CD1 [9'01] 2CDs for the price of 1
Movement 4: Sanctus and Benedictus
Track 12 on CDGIM204 CD1 [5'19] 2CDs for the price of 1
Movement 5: Agnus Dei
Track 13 on CDGIM204 CD1 [5'02] 2CDs for the price of 1

Track-specific metadata for CDGIM204 disc 1 track 11

Credo
Artists
ISRC
GB-ADM-89-00011
Duration
9'01
Recording date
Recording venue
Salle Church, Norfolk, United Kingdom
Recording producer
Steve C Smith & Peter Phillips
Recording engineer
Mike Clements
Hyperion usage
  1. Palestrina: The Tallis Scholars sing Palestrina (CDGIM204)
    Disc 1 Track 11
    Release date: January 2005
    2CDs for the price of 1
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