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Audivi vocem de caelo

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

 
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

Recordings

Taverner: Missa Gloria tibi Trinitas & other sacred music
CDH55052
The Sixteen & The Golden Age of Polyphony
CDS44401/1010CDs Boxed set (at a special price)

Details

Track 5 on CDH55052 [4'16]
Track 6 on CDS44401/10 CD4 [4'16] 10CDs Boxed set (at a special price)

Track-specific metadata for CDH55052 track 5

Artists
ISRC
GB-AJY-87-13405
Duration
4'16
Recording date
17 March 1984
Recording venue
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Recording producer
Mark Brown
Recording engineer
Antony Howell
Hyperion usage
  1. Taverner: Missa Gloria tibi Trinitas & other sacred music (CDA66134)
    Disc 1 Track 5
    Release date: September 1987
    Deletion date: April 2000
    Superseded by CDH55052
  2. The Sixteen & The Golden Age of Polyphony (CDS44401/10)
    Disc 4 Track 6
    Release date: November 2009
    10CDs Boxed set (at a special price)
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