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Track(s) taken from CDA67854

Magnificat quarti toni

4vv; published in 1602
author of text
Luke 1: 46b-55

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: 6 minutes 32 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 Magnificat quarti toni for four voices by Philippe de Monte is part of a group of eight Magnificat settings (in the eight liturgical tones) which have come down to us in a manuscript of 1602. These works are probably earlier in date than the manuscript, and they may plausibly be linked with the revival of the cult of Mary mentioned above. The texture is often homophonic, with tenor and bass treated in falsobordone. The music generates an atmosphere of intimate mystical clarity.

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

Le Magnificat quarti toni à quatre voix de Philippe de Monte fait partie d’un ensemble de huit Magnificat (dans les huit tons liturgiques) qui nous sont parvenus dans un manuscrit de 1602. Ces œuvres sont sans doute antérieures à la copie du manuscrit et il n’est pas interdit de les mettre en relation avec ce renouveau du culte marial évoqué plus haut. La polyphonie y est souvent homophone, ténor et basse sont traités en faux-bourdon. Il s’en dégage une atmosphère de clarté mystique et intimiste.

extrait des notes rédigées par Bénédicte Even-Lassmann © 2011

Das Magnificat quarti toni für vier Stimmen von Philippe de Monte ist Teil einer Gruppe von acht Magnificat-Vertonungen (in den acht Psalmtönen), die in einem Manuskript von 1602 überliefert sind. Diese Werke entstanden wahrscheinlich deutlich früher als das Manuskript und es ist durchaus denkbar, dass sie im Zuge des oben erwähnten wiederauflebenden Marienkults entstanden. Die Textur ist zumeist homophon gehalten, wobei Tenor und Bass im Fauxbourdon-Satz stehen. Die Musik erzeugt eine Atmosphäre intimer mystischer Klarheit.

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

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