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Track(s) taken from CKD417

Domine, quis habitabit?

6vv SSAABarB; tenor part reconstructed by Michael Swithinbank
author of text
Psalm 14 (15): 1-3

Magnificat, Philip Cave (conductor)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: January 2012
St George's Church, Chesterton, Cambridge, United Kingdom
Produced by Philip Hobbs
Engineered by Philip Hobbs & Robert Cammidge
Release date: November 2012
Total duration: 4 minutes 37 seconds

Cover artwork: Second woodcut of the 1550 Rosarium philosophorum.

Other recordings available for download

The Cardinall's Musick, Andrew Carwood (conductor)


'Sonic splendour abounds in the Magnificat choir's performance of this repertory. Byrd's eight-part Quomodo cantabimus unfurls majestically, ravishing the ear. In White's enormous five-part Lamentations, the choir lingers at just the right places. The subtle hues of the choir, an elite corps from Winchester and Westminster cathedrals, are particularly impressive in Byrd's Lamentation, a piece in which voicing gives the music its momentum' (BBC Music Magazine)» More

'The sober packaging of this disc gives little indication of the pleasure within. Pass it over at your peril. The small vocal group Magnificat, and its founder/director Philip Cave, explore Latin music from Tudor England mainly from the 1560s and 70s by Parsons, White and Byrd found in the Dow collection of manuscripts in the library of Christ Church, Oxford. An excellent booklet essay guides us through the changing fortunes of Latin texts in newly Protestant England, as well as questions of performance practice and pitch. But the long lines of intertwining and unfolding polyphony, performed with warmth and purity, is the reason to buy this inspirational CD' (The Observer)

'Compiled by the singer/musicologist Sally Dunkley and conducted by tenor Philip Cave, Magnificat's latest disc traces the survival of the Latin motet in the 1560s and 1570s. Byrd, Parsons and White were contemporaries, and the influence of Thomas Tallis, Byrd's teacher, can be felt in the purity of each composer's word-setting. From the aching lines of White's Lamentations to the deep groan of Byrd's Domine, the blend is beautifully relaxed and natural' (The Independent)

'What a way to open a CD! The spare beauty of Byrd's hymn Christe qui lux es et dies is quite devastating: no fancy part-writing, just simple block chords in which the hymn tune, sung in its unembellished form at the beginning and end weaves through the harmony leaving the other parts forlorn and angular. Performed with measured solemnity, this epitomises Philip Cave's style … Magnificat's recorded sound is spacious and rich, underpinned by a strong bass department, but with all the parts clear and some marvellous chording and part-crossing; false relations are met with discretion, and the phrasing is heart-rending … very highly recommended' (Early Music Review)» More
Queen Mary did not want a wholesale return to some perceived halcyon age but was intelligent enough to realize that she had to provide a settlement which did not ignore the recent past. As composers grappled with this new reality they had to find suitable texts for any extended compositions as there seemed to be no demand for a return to the old-fashioned and lengthy Votive Antiphons to the Virgin Mary. They turned instead to the Book of Psalms and to two Psalms in particular—Psalm 15 (or 14 in the Vulgate) Domine, quis habitabit? and various portions of the extended Psalm 119 (Vulgate 118). Both texts are concerned with righteous living and the following of God’s commandments and instruct people how to live a godly life. Could it be that these texts became popular for people searching for the ‘right’ way? The to-and-fro of politics had created a considerable degree of confusion and unease and such advice could be invaluable. Or was it that such texts could apply equally to Protestants as well as Catholics and were unlikely to cause offence?

Domine, quis habitabit? was set by Tallis, William Mundy, Robert White (three times) and William Byrd as well as Parsons himself. Parsons sets only the first half of the Psalm (as does Byrd) and makes a feature of juxtaposing the high voices against the lower ones. The piece seems to owe more to the Continental Flemish style than his more florid English inheritance.

from notes by Andrew Carwood © 2011

La reine Marie ne voulait pas d’un retour massif à des jours perçus comme heureux mais elle était assez intelligente pour comprendre que sa politique ne devait pas faire fi du passé récent. Aux prises avec cette nouvelle donne, les compositeurs durent trouver des textes convenant à des pièces conséquentes, personne n’ayant apparemment appelé au retour des antiennes votives à la Vierge Marie, vieillottes et très longues. Ils se tournèrent alors vers le livre des psaumes, en particulier vers le psaume 15 (14 de la Vulgate) Domine, quis habitabit? et vers diverses portions du vaste psaume 119 (118 de la Vulgate), qui traitent de la vie intègre, de l’observance des commandements de Dieu et enseignent comment mener une vie pieuse. Se pourrait-il que ces textes soient devenus populaires auprès de ceux qui cherchaient la voie «intègre»? Les va-et-vient de la politique avaient engendré une confusion et un malaise immenses, et pareils conseils pouvaient être précieux. À moins que ce ne fût parce que ces textes, peu susceptibles d’offenser, pouvaient s’appliquer autant aux protestants qu’aux catholiques?

Domine, quis habitabit? fut mis en musique par Tallis, William Mundy, Robert White (trois fois), William Byrd et Parsons. Ce dernier n’en utilise que la première moitié (à l’instar de Byrd) et met en valeur la juxtaposition des voix aiguës et graves. Cette œuvre semble devoir davantage au style flamand continental qu’à l’héritage anglais plus fleuri.

extrait des notes rédigées par Andrew Carwood © 2011
Français: Hypérion

Maria I. wollte keine gänzliche Rückkehr zu einer Epoche, die im Nachhinein als goldenes Zeitalter wahrgenommen wurde, sondern war intelligent genug um zu realisieren, dass sie eine Regelung finden musste, die die jüngste Vergangenheit nicht ignorierte. Im Zuge dieser neuen Realität mussten die Komponisten geeignete Texte für größere Kompositionen finden, da eine Rückkehr zu den altmodischen und ausgedehnten Votivantiphonen an die Jungfrau Maria offenbar nicht erwünscht war. Stattdessen wandten sie sich den Psalmen, und besonders zwei bestimmten Psalmen, zu: Psalm 15 (bzw. 14 in der Vulgata), Domine, quis habitabit?, sowie mehreren Passagen aus dem umfangreichen Psalm 119 (118 in der Vulgata). Beide Texte befassen sich mit dem redlichen Leben, dem Befolgen der Gebote Gottes und dienen den Menschen als Anleitung, wie ein frommes Leben zu führen ist. Könnte es sein, dass diese Texte unter denjenigen beliebt wurden, die den „rechten“ Weg suchten? Das Hin und Her der Politik hatte für ein beträchtliches Maß an Verwirrung und Unruhe gesorgt, so dass solche Ratschläge von unschätzbarem Wert sein konnten. Oder lässt sich ihre Popularität dadurch erklären, dass solche Texte gleichermaßen für Protestanten und Katholiken galten und damit wohl nirgendwo auf Missbilligung stießen?

Domine, quis habitabit? wurde von Tallis, William Mundy, Robert White (dreimal) und William Byrd wie auch Parsons selbst vertont. Parsons vertont nur die erste Hälfte des Psalms (ebenso wie Byrd) und betont die Gegenüberstellung der hohen Stimmen gegen die tiefen. Das Werk scheint sich mehr am flämischen Stil des europäischen Kontinents zu orientieren, als an seinen blumigeren englischen Vorgängern.

aus dem Begleittext von Andrew Carwood © 2011
Deutsch: Viola Scheffel

Other albums featuring this work

Parsons: Sacred Music
Studio Master: CDA67874Studio Master FLAC & ALAC downloads available
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