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Track(s) taken from CDA67854

Te decet hymnus

5vv; published in Nuremberg in 1600
author of text
Psalm 64 (65): 1-2; Introit at Mass for the Office of the Dead

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: 2 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)
The five-voice motet Te decet hymnus, published in Nuremberg in 1600, a setting of the first two verses of Psalm 64 which are sung as the Introit of the Office of the Dead, is faithful to the technique of imitation limited to the entries of the different voices. In the central part homophony makes its appearance with pairs of voices (‘et tibi reddetur’, ‘Exaudi orationem’, ‘ad te omnis’) before a conclusion in freer counterpoint.

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

Le motet Te decet hymnus à cinq voix, publié à Nuremberg en 1600, reprend les deux premiers versets du psaume 64 chanté en introït de l’office des morts et se#montre fidèle à la technique de l’imitation limitée à l’entrée des différentes voix. Dans la partie centrale l’homophonie apparaît par couples de voix («et tibi reddetur», «Exaudi orationem», «ad te omnis») avant une finale en contrepoint plus libre.

extrait des notes rédigées par Bénédicte Even-Lassmann © 2011

Die fünfstimmige Motette Te decet hymnus, die 1600 in Nürnberg publiziert wurde, ist eine Vertonung der ersten beiden Verse aus Psalm 64, die als Introitus der Totenmesse gesungen werden, und hält sich an die Imitationstechnik, die auf die Einsätze der verschiedenen Stimmen begrenzt ist. Im zentralen Teil treten homophone Stimmpaare auf („et tibi reddetur“, „Exaudi orationem“ und „ad te omnis“), bevor der Schlussteil in freierem Kontrapunkt folgt.

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

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