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Track(s) taken from CDA68056


First line:
Credo in unum Deum
1977; SATB unaccompanied
author of text
Credo of the Mass

Polyphony, Stephen Layton (conductor)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: August 2013
All Hallows, Gospel Oak, London, United Kingdom
Produced by Adrian Peacock
Engineered by David Hinitt
Release date: October 2014
Total duration: 5 minutes 10 seconds


'This one is something special. In part this is because of the choice of repertoire, which mixes the familiar and the less-often heard, and includes two first recordings, and in part it is because of the exquisite sound produced by Polyphony … highly recommended' (Gramophone)

'The ever-excellent Polyphony and Stephen Layton have put together a very special disc of music by Pärt for the composer’s 80th birthday ... The hour-long programme ranges from Solfeggio (1963) to the recent Virgencita (2012) in its first recording. The perfectly balanced, richly warm tones of Polyphony, especially its outstanding bass section, suit Pärt’s translucent textures extremely well, and one can’t help but admire the power of this supposedly ‘simple’ music' (Choir & Organ)» More

'There is no shortage of recitals of Arvo Pärt's shorter choral works in catalogue, but anything by Polyphony is always welcome … Polyphony's sound is, as always, so rich and beautiful that there is no sense of anything missing' (BBC Music Magazine)» More

'This disc of Pärt's choral music is one of the most singularly beautiful recordings I've heard this year … this is a stunning addition to Pärt’s ever-increasing discography and is unreservedly recommended' (International Record Review)» More
Dating from the 1970s, Summa is one of Pärt’s first tintinnabulist works, emerging early on from his stylistic ground-zero. It is a setting of the Latin Mass Credo, but coming from a time when Pärt was still living in Soviet-era Estonia; its title conceals its religious nature. With its voice-pairings, upper and lower, of stepwise and triadic movement, it is a textbook display of Pärt’s newly established tintinnabulist principles—neutrally flowing, stripped back, quasi-medieval.

from notes by Meurig Bowen © 2014

Summa (1977) est l’une des premières pièces à représenter le tintinnabulisme, tôt émergé chez Pärt. Elle met en musique le Credo de la messe latine mais, comme elle date de l’époque où Pärt vivait encore en Estonie soviétique, son titre cache sa nature religieuse. Avec ses appariements vocaux, supérieurs et inférieurs, progressant par degrés conjoints et par accords parfaits, elle est une démonstration classique des principes tintinnabulistes nouvellement instaurés par Pärt—d’une fluidité neutre, décapée, quasi médiévale.

extrait des notes rédigées par Meurig Bowen © 2014
Français: Hypérion

Summa (1977) ist eines der ersten Werke Pärts im Tintinnabuli-Stil, das früh aus seinem stilistischen Ground Zero hervorging. Es ist eine Vertonung des Credos aus der lateinischen Messe, stammt allerdings aus einer Zeit, als Pärt noch im Estland der Sowjetzeit lebte; der Titel verbirgt den religiösen Charakter. Mit den oberen und tieferen Stimmpaaren des Stufen- und Dreiklangsatzes stellt es lehrbuchmäßig Pärts neu begründete Tintinnabuli-Technik heraus—neutral fließend, reduziert, quasi mittelalterlich.

aus dem Begleittext von Meurig Bowen © 2014
Deutsch: Christiane Frobenius

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