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Track(s) taken from CDA67762


First line:
Es fiel ein Tau vom Himmel himmlisch mild
1902; unaccompanied five-part chorus; dedicated to Georg Stolz
author of text

Consortium, Andrew-John Smith (conductor)
Recording details: September 2009
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Adrian Peacock
Engineered by Andrew Mellor
Release date: November 2010
Total duration: 5 minutes 35 seconds

Cover artwork: The Storm (1911) by August Macke (1887-1914)
Saarland Museum, Saarbrucken / Giraudon / Bridgeman Art Library, London


'This disc yields up … secrets too long hidden from the public consciousness. Hyperion deserves a large vote of thanks for bringing both to our attention … [Der Einsiedler] the shifting chromatic sands of this baritone solo, presented with delectable poise by Alexander Learmonth, and its intense accommpaniment, tackled with breathtaking sensitivity by pianist Christopher Glynn … the second secret here is the four-year-old choir, Consortium … their singing is sensitive and technically impressive. Andrew-John Smith draws from them an infinitely subtle dynamic range and some impeccably moulded phrasing which certainly serves Reger uncommonly well. One suspects this repertoire could have found no finer exponents to bring it to public attention' (Gramophone)

'Reger's choral music, like so much of his output, is too little known. So Consortium's new disc … is to be warmly welcomed … I found this disc most enjoyable … the recording is of Hyperion's customary excellence, with performances to match' (Choir & Organ)

'If there are still a few timid souls out there who fear Max Reger's music as dark forests of gnarled and knotty chromatic counterpoint, here's the CD to conquer their prejudices … these wistful, autumnal choral works caress the ear and the soul' (International Record Review)

'One of those recordings that immediately stops you in your tracks. The performances are fine indeed, but more than anything, it's the music itself that strikes you—it's both utterly unique and breathtakingly beautiful … [The Hermit] the voices slip and slide smoothly through unexpected keys, gently encouraged by a breakaway baritone soloist. It's luxurious, exotic, unusual and so very evocative … [Three Six-Part Songs] it's here that Reger's music starts to move from inherent yearning to palpable despair. To bring that off, you need a choir that isn't just technically accomplished but can also conjure intense drama, and Andrew-John Smith's group is perfectly suited to it. The voices blend well but are never overly polite; this is passionate rather than devotional, and you sense the fine gradations of the composer's emotional intensity … unmissable' (Classic FM Magazine)

'A wonderful disc this, and a testament to yet another undervalued dimension of the artistry of Max Reger. Very few of the common complaints about Reger's music apply here: the music is consistently inspired, often light, elegant and wholly free from the stodginess that blights so many of his organ works' (MusicWeb International)
Palmsonntagmorgen, composed in 1902, sets a poem by Emanuel von Geibel (1815–1884) for unaccompanied five-part chorus. The persistent upward chromatic movement of the lower parts lends an ecstatic quality to the first section of the piece, which reaches a point of repose in E major—the key here associated with morning rather than evening. The second section provides ample evidence of Reger’s ingenuity as a composer of fugue—a form frequently (perhaps too frequently) deployed in his instrumental music, but here supplying both vigorous contrast and an expression of the excitement accompanying Jesus’s entry into Jerusalem.

from notes by Michael Downes © 2010

Palmsonntagmorgen fut composé en 1902, sur un poème d’Emanuel von Geibel, pour un chœur a cappella à cinq parties. Le persistant mouvement chromatique ascendant des parties inférieures confère une dimension extatique à la première section, qui atteint un instant de repos en mi majeur—un ton ici associé davantage au matin qu’au soir. La deuxième section montre bien l’ingéniosité du Reger fuguiste—souvent (trop peut-être) déployée dans sa musique instrumentale, la fugue offre ici et un vigoureux contraste et une expression de l’excitation accompagnant l’entrée de Jésus dans Jérusalem.

extrait des notes rédigées par Michael Downes © 2010
Français: Hypérion

Palmsonntagmorgen ist eine 1902 komponierte Vertonung eines Gedichts von Emanuel von Geibel (1815–1884) für unbegleiteten fünfstimmigen Chor. Die beharrliche aufsteigende Chromatik der tieferen Stimmen verleiht dem ersten Teil eine ekstatische Stimmung, die mit E-Dur zur Ruhe kommt, wobei diese Tonart hier mit dem Morgen statt des Abends assoziiert wird. Der zweite Teil bietet reichliche Beweise von Regers Erfindungsreichtum als Fugenkomponist, der diese Form häufig (und vielleicht übermäßig häufig) in seiner Instrumentalmusik verwendet, doch hier sorgt sie für kraftvollen Kontrast und eine erregte Stimmung bei der Begleitung von Jesu Einzug in Jerusalem.

aus dem Begleittext von Michael Downes © 2010
Deutsch: Henning Weber

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