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Track(s) taken from CDA67836

Post dies octo

author of text
John 20: 26-29

The Cardinall's Musick, Andrew Carwood (conductor)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: November 2009
Fitzalan Chapel, Arundel Castle, United Kingdom
Produced by Jonathan Freeman-Attwood
Engineered by Martin Haskell & Iestyn Rees
Release date: August 2010
Total duration: 5 minutes 23 seconds

Cover artwork: The Penitent Magdalen by Sir Anthony van Dyck (1599-1641)
Private Collection / © Agnew's, London / Bridgeman Art Library, London


'This latest addition to Guerrero's discography is especially to be welcomed for his fine Mass on a motet by Thomas Crecquillon, in which one hears echoes of the style of Guerrero's near-direct contemporary, Palestrina. Like its model it is a joyful, extrovert piece, to which Andrew Carwood's singers respond with an equal measure of buoyancy and vigour' (Gramophone)

'This Mass, beautifully sung by The Cardinall's Musick, reflects Guerrero's soaring style' (The Independent)

'Since 1989, Andrew Carwood has nurtured the group to its current status as a leading exponent of Renaissance music, retaining the essential quality of individual vocal timbres that contribute to a refined, characterful mix and with a polish that is second to none … this entire disc is captivating in its fluency and expressive power' (The Daily Telegraph)

'This is one of the finest Guerrero discs … Carwood has given us a program of the highest distinction … it is beyond excellent' (Fanfare, USA)
After eight days, the euphoria of Easter has passed and the disciples are huddled together in a room with the doors closed, fearing for their safety. Guerrero chooses to use a narrow compass for the voices, perhaps to mirror the clandestine nature of the surroundings. Christ appears and pronounces his benediction and asks the doubtful Thomas to touch his wounds so that his faith can be truly grounded. Guerrero points many of the salient phrases with homophony but indulges in some writing which sounds more reminiscent of the approaching style of Monteverdi (at the end of the first section, for example). However, the intimate nature of this narrative is preserved throughout, even in the concluding Alleluias.

from notes by Andrew Carwood © 2010

Au bout de huit jours, l’euphorie a passé et les disciples sont entassés dans une salle aux portes closes, car on craint pour leur sécurité. Guerrero opte pour un ambitus vocal étroit, peut-être pour refléter la nature clandestine de ce contexte. Le Christ apparaît, prononce sa bénédiction et invite le sceptique Thomas à toucher ses blessures pour enraciner véritablement sa foi. Guerrero souligne nombre des phrases saillantes par de l’homophonie tout en se laissant aller à une écriture qui semble davantage annoncer Monteverdi (à la fin de la première section, par exemple). Toutefois, la nature intime de ce récit demeure constamment préservée, jusque dans les Alléluias conclusifs.

extrait des notes rédigées par Andrew Carwood © 2010
Français: Hypérion

Nach acht Tagen ist die Euphorie verflogen und die Jünger sind in einem Raum mit verriegelten Türen zusammengedrängt und bangen um ihre Sicherheit. Guerrero wählt einen engen Stimmumfang—vielleicht um dieses heimliche, verstohlene Element widerzuspiegeln. Christus erscheint und segnet sie und fordert den zweifelnden Thomas dazu auf, seine Wunden zu berühren, um seinen Glauben zu festigen. Guerrero setzt viele der hervorstehenden Phrasen homophon, doch erlaubt er sich zuweilen einen Stil, der sich dem Monteverdis annähert (gegen Ende des ersten Teils zum Beispiel). Jedoch wird der intime Stil dieser Narration durchweg beibehalten, selbst in den abschließenden Alleluias.

aus dem Begleittext von Andrew Carwood © 2010
Deutsch: Viola Scheffel

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