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.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Click cover art to view larger version
Track(s) taken from CDA67614

Aspice Domine

SATB; First Book of four-part motets, Scotto, Venice, 1539
author of text
Magnificat Antiphons for the Saturdays before the Second and Third Sundays of November

The Brabant Ensemble, Stephen Rice (conductor)
Recording details: September 2006
Queen's College Chapel, Oxford, United Kingdom
Produced by Jeremy Summerly
Engineered by Justin Lowe
Release date: September 2007
Total duration: 10 minutes 40 seconds


'It's one of very few discs of this repertoire I've been happy to play in its entirety, and then several times since. This is in part a tribute to Gombert … but also to The Brabant Ensemble and Stephen Rice … by encouraging an unusually individual and carefully balanced vocal response, he avoids the pitfalls of relentless consistency and arid elision … there is a welcome and (in this music) novel belief in the power of voices as voices … try the sopranos halfway through Hortus conclusus es for erotic Mariolatry at its most disconcertingly sensual. Arise, make haste, as they sing, and hear this music' (Gramophone)

'The Brabant Ensemble's exploration of the 'forgotten generation' of composers between Josquin and Palestrina is reviving an abundance of unwarrantedly neglected sacred polyphony. Judging by this splendid selection of motets, Gombert's neglect is particularly flagrant. In penitential pieces, such as Aspice Domine and Tribulatio et angustia, his lavish use of dissonance within a smooth-flowing yet intricately imitative style creates an atmosphere of almost unbearably intense and bitter anguish, whether contemplating a city laid waste or beseeching rescue from a foetid quagmire … these shapely and well-paced performances do full justice to Gombert's outstanding talent' (The Daily Telegraph)

'This attractive recording provised an excellent opportunity to wallow in his motets … the music is austere but beautiful, with plenty of anguished dissonances and false relations … the music is well-sung … the performers are evidently passionate about 16th-century Flemish music' (Early Music Review)

'This is impressively accomplished ensemble singing … Rice's own booklet notes provide fascinating insights into the music … it is this intelligent approach to the spirit of the text (there is a glorious moment in Hortus conclusus es when the soprano soars ethereally to the line 'arise, make haste my beloved'), coupled with outstanding tuning and balancing, which makes this such a distinguished group. The Brabant Ensemble are quickly establishing themselves as one of the more impressive English groups specializing in Renaissance music, and this, their fourth CD release, only increases their stature' (International Record Review)

'The sheer quality of his music. These 10 motets are notable for their richly glowing sonorities, their disciplined counterpoints, their intensity of expression and, most of all, their careful tailoring of music to text. There's the darkly erotic intensity of Hortus conclusus es, the angst-ridden, pentitential Tribulatio et angustia … the singing is meticulously balanced and blended, Stephen Rice shaping and pacing each work with exquisite judgement' (The Sunday Times)

'Aspice Domine, Ne reminiscaris, Domine and Tribulatio et angustia mine a rich seam of angst, and receive searing performances here … the singing is brightly supported, the texture crystalline' (Early Music)

'Virtually all of these works project an awe-inducing majesty and solemnity, unfolding over many minutes of nearly cadence-free waves of rich-textured polyphony. Pungent dissonances play an integral role in the overall structure, as do repeated-note fragments and brief melodic segments whose impact can be quite striking, especially when introduced in the treble register and then passed through the other voices. It would be impossible to name a highlight--the magnificent Tribulatio et angustia; the grand Aspice Domine; the profoundly moving Pater noster and Ave Maria--because all of these works and performances are exemplary, both as unique creations and as stylistically informed, modern realizations of some of the greatest, yet-to-be-fully-appreciated music of the 16th century. The 14-voice Brabant Ensemble, whose vibrant, perfectly-tuned sound often gives the impression of a larger group, knows the importance of phrasing, breath control, and long-lined dynamic modulation, all of which are essential to really fire up and fully illuminate these scores. The sound, from what proves to be the ideal acoustics of the chapel of The Queen's College, Oxford, is perfectly balanced to allow us to hear each vocal line clearly while enabling the ensemble to properly resonate. This is a recording that demands and rewards multiple hearings … absolutely essential listening!' (Classics Today)

'This music is stunning, and the performance here is clear and bright, with perfect balance across the voice parts and the sustained lines. Highly recommended' (GScene)

'Les moments à couper le souffle ne manquent pas dans la dernière réalisation du Brabant Ensemble. Les amateurs de polyphonie de la Renaissance se réjouiront de voir apparaître des joyaux tels que Hortus conclusus es, aux invraisemblables chaînes de dissonances, ou une version du Inviolata qui, pour évoquer lointainement un modèle de Josquin, ne se situe pas moins dans un registre d'élégiaque mélancolie où Gombert surpasse tous ses contemporains' (Le Monde de la Musique, France)
Aspice Domine is unlike the two other penitential pieces in presenting a public rather than a private religion. It is thought to be related to one of the most infamous acts of the century, the Sack of Rome in 1527, where the troops of Gombert’s employer, the Emperor Charles V, took the city and pillaged it. In the motet the writer notes how ‘the city is made desolate’; the first half of the piece is highly dissonant, reflecting the devastation. In the second part, God is asked to surround the city with a protecting wall and defend it with the weapons of his power, and here Gombert provides much more consonant harmony, as if to indicate that the world will be put right with God’s help. If the theory concerning the motet’s political significance is correct, it was with the help of the Emperor, not God, that Rome was in future to be protected, provided of course that the Pope (the Medici Clement VII) paid considerably more attention to Charles V’s concerns in future.

from notes by Stephen Rice © 2007

Aspice Domine se démarque des deux autres pièces pénitentielles en présentant une religion plutôt publique que privée. Ce motet se rapporterait à l’un des actes les plus infâmes du siècle, le sac de Rome (1527), au cour duquel les troupes de l’employeur de Gombert, l’empereur Charles Quint, prirent la ville et la pillèrent. Le texte dit combien «la cité est faite désolation», une dévastation que reflète la forte dissonance de la première moitié de l’œuvre. Dans la seconde moitié, on demande à Dieu d’entourer la ville d’un rempart protecteur et de la défendre avec les armes de sa puissance—ici, Gombert opte pour une harmonie bien plus consonante, comme pour montrer que le monde sera remis d’aplomb avec l’aide de Dieu. Si la théorie concernant la résonance politique du motet est valable, ce fut avec l’aide de l’empereur, en non de Dieu, que Rome fut protégée, sachant, bien sûr, que le pape Clément VII (Jules de Médicis) fit dès lors bien plus attention aux affaires de Charles Quint.

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

Anders als die beiden Bußstücke präsentiert Aspice Domine eher eine öffentliche als eine private Religion. Es wird vermutet, dass es mit einer der berüchtigsten Taten des Jahrhunderts verbunden ist, dem Sacco di Roma von 1527, als die Truppen von Gomberts Dienstherrn Kaiser Karl V. die Stadt einnahmen und plünderten. In der Motette spricht der Dichter davon, wie „die Stadt verwüstet“ wurde, und die erste Hälfte des Stückes ist äußerst dissonant, um diese Verwüstung zu illustrieren. Im zweiten Teil wird Gott gebeten, die Stadt mit einem Schutzwall zu umgeben und mit den Waffen seiner Macht zu schützen; hier bietet Gombert beständigere Harmonien, als ob er andeuten wolle, dass mit Gottes Hilfe die Welt wieder eingerenkt werden könnte. Wenn die Theorie der politischen Signifikanz dieser Motette stimmt, war es durch die Hilfe des Kaisers, nicht Gottes, dass Rom in der Zukunft geschützt wurde, solange der Papst (Clemens VII., ein Medici) zukünftig den Belangen Karls V. wesentlich mehr Beachtung schenkte.

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

Waiting for content to load...
Waiting for content to load...