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Track(s) taken from CDA67669

Laudate Dominum

1618; re-published in the 1622 Cantiones Sacrae; SSATTBB
author of text
Psalm 116 (117)

The Cardinall's Musick, Andrew Carwood (conductor)
Recording details: February 2008
Fitzalan Chapel, Arundel Castle, United Kingdom
Produced by Jonathan Freeman-Attwood
Engineered by Martin Haskell & Iestyn Rees
Release date: October 2008
Total duration: 3 minutes 24 seconds

Cover artwork: Virgin and child holding a half-eaten pear (detail) (1512) by Albrecht Dürer (1471-1528)
Kunsthistorisches Museum, Vienna / Bridgeman Art Library, London


'A superior festive selection box indeed' (Gramophone)

'The often highly expressive, sometimes quirky, and always well-crafted Magnificats and motets of Hieronymus Prateorius are a fine example of the strength-in-depth of German musical creativity. Andrew Carwood and The Cardinall's Musick ardently relish the interplay of voices in the eight-art scorings … the overall impression is compelling, fresh and immediate' (Choir & Organ)

'Their beautiful singing of such fine music deserves wide circulation' (Early Music Review)

'This superb disc … these are stunning performances, which is of course to be expected from this remarkable vocal ensemble … all are bathed in a richly texutred and highly variegated choral sound … Hieronymus Praetorius is considered by many to be one of the greatest North German composers of the first half of the seventeenth century. This release will surely go some way to convincing the rest of us of the truth of this assertion' (International Record Review)

'Hieronymus Praetorius gains his place in the sun with this outstanding release. The 16th-century organist and composer emerges as a master of vivid choral contrasts and effects' (Classic FM Magazine)

Laudate Dominum is a predominantly Renaissance-influenced work where the seven-voice writing is infused with imitative and quasi-imitative polyphony. The motet possesses a grandeur that is achieved by underpinning the vigorous polyphony with gently old-fashioned dissonances whose function is to create a large acoustical effect from within the ensemble rather than relying upon the architecture of a large performance space to create a similar effect.

from notes by Jeremy Summerly © 2008

Laudate Dominum est un motet d’influence essentiellement renaissante, où l’écriture à sept voix est impregnée de polyphonie imitative et quasi imitative. Il tire son grandiose de ce que cette vigoureuse polyphonie est étayée par des dissonances délicatement surannées, chargées de produire un vaste effet acoustique venant de l’intérieur, sans avoir à compter sur l’achitecture d’un grand espace d’exécution.

extrait des notes rédigées par Jeremy Summerly © 2008
Français: Hypérion

Laudate Dominum ist vorwiegend von der Renaissance beeinflusst, und der siebenstimmige Satz ist von imitativer und quasi imitativer Polyphonie erfüllt. Die Motette besitzt eine Erhabenheit, die erreicht wird, indem die lebhafte Polyphonie durch sanft-altmodische Dissonanzen unterstützt wird, die erreichen soll, aus dem Ensemble heraus eine großräumige Wirkung zu erreichen, statt sich auf die Architektur eines großen Raums für die Aufführung verlassen zu müssen.

aus dem Begleittext von Jeremy Summerly © 2008
Deutsch: Renate Wendel

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