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Track(s) taken from CDA67854

Usquequo Domine oblivisceris me?

6vv; published in Venice in 1587
author of text
Psalm 12 (13)

Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: April 2010
Kloster Pernegg, Waldviertel, Austria
Produced by Adrian Peacock
Engineered by Markus Wallner
Release date: May 2011
Total duration: 5 minutes 25 seconds

Cover artwork: Vertumnus by Giuseppe Arcimboldo (1527-1593)


'Cinquecento's famed flexibility, harmonic blend and impeccable balance are caught perfectly in the stillness of the monastery at Pernegg in Austria. This is a disc to savour' (Gramophone)

'The music, a wonderful discovery, is polyphony of the highest quality, and Cinquecento marries smooth ensemble to marvellous interpretational vision. The recorded sound is excellent, doing full justice to their almost instrumental sonorities' (Choir & Organ)

'The voices of Cinquecento produce balanced, tuneful, clear and stylish performances … the quiet tensions of the 'Et incarnatus est' section are beautifully rendered, and the Benedictus is displayed and sustained with perfect poise … the recording deserves credit, too, for lending substance and space to the mere six voices that produce these compelling harmonies' (BBC Music Magazine)

'[Cinquecento] gives resounding interpretations of the pieces … the ensemble's sonorous tone is based principally on a perfect balance between the voices, taut and intelligent pacing and a supremely confident shaping of musical line. The effect of their performances is enhanced as much by the lucid and warmly resonant recorded sound as the euphonious clarity of Schoendorff's writing' (International Record Review)
Philippe de Monte composed motets only in the second part of his career, from 1568 onwards. The two-part motet for six voices Usquequo Domine oblivisceris me?, which Schoendorff chose as the model for his Mass, was published in Venice in 1587. It is a setting of the six verses of Psalm 12 (Vulgate). The use of the Psalms in the Roman Catholic liturgy at this period seems to have been influenced by the Protestant practice of performing them in full. By the late 1580s Philippe de Monte, now a sexagenarian personally affected by the often itinerant life (one need only think of the many imperial diets) and the financial difficulties of the court, was in such bad health and poor spirits that he expressed a desire to resign from the court. In this context, the setting of this Psalm takes on special significance and seems to reflect the Kapellmeister’s state of mind.

from notes by Bénédicte Even-Lassmann © 2011
English: Charles Johnston

La composition de motets se situe seulement dans la seconde partie de la carrière de Philippe de Monte, à partir de 1568. Le motet à six voix et deux parties Usquequo Domine oblivisceris me? choisi par Schoendorff pour réaliser sa messe a été publié à Venise en 1587. Il reprend les six versets du psaume 12 (Vulgata). L’utilisation liturgique des psaumes dans l’église catholique a d’ailleurs été, semble-t-il, influencée par la pratique du protestantisme qui remettait à l’honneur ces chants dans leur intégralité. À la fin des années 1580 Philippe de Monte, sexagénaire que la vie souvent itinérante (on pense aux nombreuses diètes) et les difficultés financières de la cour touchaient personnellement, voit sa santé et son moral se détériorer au point de vouloir quitter la cour. La mise en musique de ce psaume prend dans ce contexte un relief particulier et semble refléter l’état d’esprit du maître.

extrait des notes rédigées par Bénédicte Even-Lassmann © 2011

Philippe de Monte wandte sich erst in der zweiten Hälfte seiner Karriere, ab 1568, der Komposition von Motetten zu. Die zweiteilige Motette für sechs Stimmen Usquequo Domine oblivisceris me?, auf der Schoendorffs Messe basiert, wurde 1587 in Venedig publiziert. Es ist dies eine Vertonung von sechs Versen aus Psalm 12 (Vulgata). Der liturgische Gebrauch von Psalmen in der katholischen Kirche zu dieser Zeit scheint von der protestantischen Praxis beeinflusst gewesen zu sein, in der sie vollständig aufgeführt wurden. Gegen Ende der 1580er Jahre war Philippe de Monte bereits in seinen Sechzigern und von dem unsteten Leben (man denke nur an die zahlreichen Reichstage) und den finanziellen Schwierigkeiten des Hofs persönlich betroffen. Sein gesundheitlicher Zustand und seine psychische Verfassung waren derart schlecht, dass er sich vom Hof zurückziehen wollte. In diesem Zusammenhang nimmt die Vertonung dieses Psalms eine besondere Bedeutung an und scheint die Stimmung des Kapellmeisters widerzuspiegeln.

aus dem Begleittext von Bénédicte Even-Lassmann © 2011
Deutsch: Viola Scheffel

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