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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Judith Weir’s In the Land of Uz and Amy Beach’s The Canticle of the Sun make up just the sort of release which has always been something of a Hyperion speciality—two major choral works (by two major composers, including a former Master of the King’s Music), which may have been overlooked by a wider audience and yet which amply repay closer acquaintance. Both are settings of texts which address the inadequacies and complexities of the human condition (from the Book of Job and Saint Francis of Assisi), but any expectations of unremitting solemnity are quickly dispelled: the sinuous, jazz-inflected soprano saxophone which plays a prominent role in Dame Judith’s piece is alone worth the price of admission. David Hill conducts, and the varied forces—choir and vocal soloists, accompanied by instrumental ensemble in Uz and orchestra in the Canticle—are drawn from Yale Schola Cantorum.
Crossing borders is another triumphant instalment in La Serenissima’s enigmatically themed discography on Signum Classics. Here, director-cum-violinist Adrian Chandler draws together concertos—most of them ‘con molti istromenti’—by Telemann, Sieber, Durante, Brescianello and of course Vivaldi. Unctuous flute and recorder solo contributions come from Katy Bircher and Tabea Debus respectively.
Nigel Short and the expert singers of Tenebrae have recorded A prayer for deliverance. This new album from Signum Classics features a complete performance of Herbert Howells’s tender Requiem, the capstone of a programme of rest and repose where new works—including the title track by young American composer Joel Thompson—sit contentedly amidst favourites from the likes of Holst and Vaughan Williams.
Judith Weir’s In the Land of Uz and Amy Beach’s The Canticle of the Sun make up just the sort of release which has always been something of a Hyperion speciality—two major choral works (by two major composers, including a former Master of the King’s Music), which may have been overlooked by a wider audience and yet which amply repay closer acquaintance. Both are settings of texts which address the inadequacies and complexities of the human condition (from the Book of Job and Saint Francis of Assisi), but any expectations of unremitting solemnity are quickly dispelled: the sinuous, jazz-inflected soprano saxophone which plays a prominent role in Dame Judith’s piece is alone worth the price of admission. David Hill conducts, and the varied forces—choir and vocal soloists, accompanied by instrumental ensemble in Uz and orchestra in the Canticle—are drawn from Yale Schola Cantorum.
Crossing borders is another triumphant instalment in La Serenissima’s enigmatically themed discography on Signum Classics. Here, director-cum-violinist Adrian Chandler draws together concertos—most of them ‘con molti istromenti’—by Telemann, Sieber, Durante, Brescianello and of course Vivaldi. Unctuous flute and recorder solo contributions come from Katy Bircher and Tabea Debus respectively.
Nigel Short and the expert singers of Tenebrae have recorded A prayer for deliverance. This new album from Signum Classics features a complete performance of Herbert Howells’s tender Requiem, the capstone of a programme of rest and repose where new works—including the title track by young American composer Joel Thompson—sit contentedly amidst favourites from the likes of Holst and Vaughan Williams.
Judith Weir’s In the Land of Uz and Amy Beach’s The Canticle of the Sun make up just the sort of release which has always been something of a Hyperion speciality—two major choral works (by two major composers, including a former Master of the King’s Music), which may have been overlooked by a wider audience and yet which amply repay closer acquaintance. Both are settings of texts which address the inadequacies and complexities of the human condition (from the Book of Job and Saint Francis of Assisi), but any expectations of unremitting solemnity are quickly dispelled: the sinuous, jazz-inflected soprano saxophone which plays a prominent role in Dame Judith’s piece is alone worth the price of admission. David Hill conducts, and the varied forces—choir and vocal soloists, accompanied by instrumental ensemble in Uz and orchestra in the Canticle—are drawn from Yale Schola Cantorum.
Crossing borders is another triumphant instalment in La Serenissima’s enigmatically themed discography on Signum Classics. Here, director-cum-violinist Adrian Chandler draws together concertos—most of them ‘con molti istromenti’—by Telemann, Sieber, Durante, Brescianello and of course Vivaldi. Unctuous flute and recorder solo contributions come from Katy Bircher and Tabea Debus respectively.
Nigel Short and the expert singers of Tenebrae have recorded A prayer for deliverance. This new album from Signum Classics features a complete performance of Herbert Howells’s tender Requiem, the capstone of a programme of rest and repose where new works—including the title track by young American composer Joel Thompson—sit contentedly amidst favourites from the likes of Holst and Vaughan Williams.