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Track(s) taken from CDA67733

Salve regina

author of text
Antiphon to the Virgin Mary from Trinity until Advent

Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: May 2008
Kloster Pernegg, Waldviertel, Austria
Produced by Stephen Rice
Engineered by Markus Wallner
Release date: March 2009
Total duration: 6 minutes 41 seconds

Cover artwork: Spring by Giuseppe Arcimboldo (1527-1593)
Real Adademia de Bellas Artes de San Fernando, Madrid / Bridgeman Art Library, London


'Stunning … Cinquecento's one-to-a-part approach, with countertenors on the top lines, is ideally suited to this repertory and really works wonders … at telling moments they modulate their delivery to considerable expressive effect … this highly accomplished singing does not draw attention to itself (or at least, not unduly) but focuses attention squarely on the composer. But for his early death, Vaet would have almost certainly emerged as a leading figure of his generation … this deserves to be widely heard' (Gramophone)

'A delicious feast of harmonic tension and inwardly-sensed architecture [Spiritus Domini]. Other gems include the expressive Miserere mei and a brilliant Salve Regina' (BBC Music Magazine)
Vaet composed no fewer than eight settings of Salve regina, the most popular of all motet texts in the fifteenth and sixteenth centuries. The present version is in six parts and, unlike the majority of Vaet’s settings, is polyphonic throughout: more often he alternates polyphonic verses with plainchant, following a long tradition of setting the 'Salve' in this way. Although the chant is not incorporated directly, the melodic material of the motet is closely based on it, and even at times quotes it directly. A contrasting central section is scored for three upper voices only, before the full choir returns, completing the prayer with a final section in triple time.

from notes by Stephen Rice © 2009

Vaet rédigea pas moins de huit Salve regina, le plus populaire de tous les textes de motets aux XVe et XVIe siècles. Celui-ci, à six parties, est polyphonique de bout en bout, contrairement aux autres qui, pour la plupart, s’inscrivent dans la longue tradition des «Salve» alternant versets polyphoniques et plain-chant. Même si ce dernier n’est pas incorporé directement, le matériel mélodique du motet repose étroitement sur lui, allant parfois jusqu’à le citer. Une section centrale contrastive s’adresse à trois voix supérieures seulement, puis le chœur entier revient achever la prière sur une section ternaire.

extrait des notes rédigées par Stephen Rice © 2009
Français: Hypérion

Vaet komponierte nicht weniger als acht Vertonungen des Salve regina, der populärste Motettentext des 15. und 16. Jahrhunderts. Die vorliegende Version ist für sechs Stimmen angelegt und ist, anders als die meisten anderen Vertonungen Vaets, durchweg polyphon gehalten: sonst wechselt er, gemäß einer langen „Salve“-Tradition, polyphone Strophen mit Choralstrophen ab. Obwohl der Choral hier nicht direkt eingearbeitet ist, kommt das melodische Material der Motette ihm doch sehr nahe und zitiert ihn zum Teil sogar direkt. Ein kontrastierender Mittelteil ist lediglich für drei Oberstimmen gesetzt, bevor der volle Chor wieder einsetzt und das Gebet mit einem Schlussteil im Dreiertakt beendet.

aus dem Begleittext von Stephen Rice © 2009
Deutsch: Viola Scheffel

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