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 CDA67695

Benedictus 'for trebles'

unique to the Chirk Castle Part-Books; top part reconstructed by David Evans
author of text

The Brabant Ensemble, Stephen Rice (conductor)
Recording details: July 2008
Merton College Chapel, Oxford, United Kingdom
Produced by David Trendell
Engineered by Justin Lowe
Release date: April 2009
Total duration: 7 minutes 50 seconds

Cover artwork: William Mundy’s Te Deum ‘for trebles’ from the Chirk Castle Part-Books. MS Mus.Res.*MNZ(Chirk).
The New York Public Library for the Performing Arts, Astor, Lenox and Tilden Foundations


'The new works are undoubtedly significant additions to the repertoire. On that count alone this recording is self-recommending. An even greater name among the new additions is that of Tallis … the predominant sonority is familiarly clear, transparent and assured … for the sake of the new pieces alone, lovers of this repertory will welcome this enthusiastically' (Gramophone)

'This is a beautifully conceived and exquisitely carried out program with much historical interest' (American Record Guide)

'You will never hear a more judiciously balanced, vocally better matched, nor technically more accomplished choral group than the 12-voice Brabant Ensemble. Founder/director Stephen Rice has assembled an exemplary company of voices aligned with repertoire that ideally suits the group's size and configuration. Combined with excellently recorded sound—from the Merton College Chapel venue favored by many choral ensembles—this production offers a program that's not only historically significant but that's worthy of repeated listening—intellectually involving, aesthetically pleasing, and emotionally engaging. How can you go wrong with that? Highly recommended!' (Classics Today)
The Te Deum and Benedictus ‘for trebles’ by William Mundy are designed on a large scale, exploiting the use of high trebles, and Mundy cleverly employs choral groupings of various types to provide maximum contrast. The textures throughout are reminiscent of Sheppard’s best Latin compositions and by intensifying the contrapuntal activity in the closing sections of both canticles, Mundy takes the music to an even higher level. The treble part must have been included in the lost part-book and it has therefore been reconstructed by the present writer.

from notes by David Evans © 2009

Le Te Deum et le Benedictus «pour trebles» de William Mundy exploitent les trebles aigus, Mundy utilisant intelligemment divers groupes choraux pour obtenir un contraste maximal. Ses textures rappellent constamment les meilleures compositions latines de Sheppard et, en intensifiant l’activité contrapuntique dans les sections conclusives des deux cantiques, il hausse encore la musique à un niveau supérieur. La partie de treble, qui devait figurer sur la partie séparée perdue, a dû être reconstituée par le présent auteur.

extrait des notes rédigées par David Evans © 2009
Français: Hypérion

Das Te Deum und das Benedictus „für Sopranstimmen“ von William Mundy sind groß angelegt und nutzen die hohen Stimmen voll aus. Mundy stellt verschiedene Chorgruppen geschickt gegeneinander, um möglichst viele Kontraste zu schaffen. Die Texturen erinnern jeweils an die wichtigsten lateinischen Kompositionen von Sheppard, doch intensiviert Mundy die Kontrapunktik jeweils am Ende der beiden Lobgesänge und gibt der Musik auf diese Weise sogar noch einen höheren Rang. Die Sopranstimme muss in dem verschollenen Stimmbuch verzeichnet gewesen sein und musste daher vom Autor rekonstruiert werden.

aus dem Begleittext von David Evans © 2009
Deutsch: Viola Scheffel

Y Te Deum a’r Benedictus ‘for trebles’ gan William Mundy yw’r mwyaf arwyddocaol o blith y ‘canfyddiadau newydd’. Mae’r ddau osodiad wedi’u cynllunio ar raddfa fawr, gan ddefnyddio treblau uchel, ac mae Mundy yn defnyddio mewn modd clyfar wahanol fathau o grwpiau corawl er mwyn creu’r gwrthgyferbyniad mwyaf. Trwy gydol y darnau, mae’r gweadau yn galw i gof gyfansoddiadau Lladin gorau Sheppard, a chan ddwysáu’r gweithgaredd gwrthbwyntiol yn adrannau olaf y ddwy gantigl, mae Mundy yn mynd â’r gerddoriaeth i lefel uwch fyth. Hwn yw’r recordiad cyntaf o’r cantiglau pwysig hyn; rhaid bod rhan y trebl wedi’i chynnwys yn y rhan-lyfr coll, felly mae wedi’i hail-greu gan yr awdur presennol.

David Evans © 2009
Cymraeg: Helen Smith

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