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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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Sigh no more, ladies, sigh no more, Men were deceivers ever; One foot in sea and one on shore; To one thing constant never. Then sigh not so, But let them go, And be you blithe and bonny; Converting all your sounds of woe Into Hey nonny, nonny.
Sing no more ditties, sing no mo Of dumps so dull and heavy; The fraud of men was ever so Since summer first was leavy. Then sigh not so, But let them go, And be you blithe and bonny; Converting all your sounds of woe Into Hey nonny, nonny.
William Shakespeare (1564-1616)
The boisterous Sigh no more, ladies is a direct reflection of its rambunctious author, Virgil Thomson. This wonderful evocation of Elizabethan rowdiness reminds me of the three years I spent in the early ’60s singing original English Renaissance songs with Noah Greenberg’s New York Pro Musica. Thomson’s setting recalls Shakespeare’s era perfectly with a hemiola ‘kick’ that rivals the energy of a Morley madrigal. I remember singing for Thomson in his studio at the fabled Hotel Chelsea on West 23rd Street in the late ’50s when, as a raw college Student, I went to him for professional advice. It was a daunting experience, to put it mildly. My Hunter College class-mate Samuel Sanders played for me, then as now, while I bravely sang Il mio tesoro and Come into the garden, Maud. When I finished, Thomson peered out over his glasses and said in his high-pitched staccato voice: ‘Young man, I suggest that—for the foreseeable future—you ditch Donna Anna and stick with Maud’!