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Track(s) taken from CDA68056

Da pacem, Domine

2004, revised 2006; SATB unaccompanied
author of text
6th- or 7th-century Antiphon for Peace

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 41 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
Existing in various versions, choral and instrumental, Da pacem, Domine, from 2004/2006, alternates rhythmically patterned, harmonically static writing with cadential figures of parallel chords. The first of these styles is closely related to Pärt’s 1976 organ work Pari intervallo, and if you are familiar with the unwavering nature of this piece, the cadential digressions in Da pacem, Domine are surprising, even unsettling. The conductor Paul Hillier nicely describes the deliberate poise of the Pari intervallo-like parts of this piece when he writes that it has ‘a near harmonic stasis in which each pitch is carefully placed in position like stones in a Zen garden’.

from notes by Meurig Bowen © 2014

Existant dans différentes versions chorales et instrumentales, Da pacem, Domine (2004/2006) alterne une écriture à motifs rythmiques, harmoniquement statique, et des figures cadentielles d’accords parallèles. Le premier de ces styles est très apparenté à Pari intervallo, que Pärt composa en 1976; à qui connaît l’inflexibilité de cette œuvre pour orgue, les digressions cadentielles de Da pacem, Domine semblent étonnantes, voire troublantes. Le chef Paul Hillier évoque joliment la pondération délibérée des parties de cette œuvre façon Pari intervallo quand il écrit qu’elle présente «un quasi-équilibre harmonique, où chaque hauteur de son est soigneusement disposée comme les pierres d’un jardin zen».

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

Das in verschiedenen Versionen für Chor und Instrumente existierende Da pacem, Domine von 2004/2006 wechselt einen rhythmisierten, harmonisch statischen Stil mit kadenzierenden Figuren von parallel geführten Akkorden ab. Der erste dieser Stile ist eng mit Pärts Orgelwerk Pari intervallo von 1976 verwandt; wer dieses unerschütterliche Stück kennt, wird von den kadenzierenden Exkursen in Da pacem, Domine überrascht, ja verunsichert sein. Der Dirigent Paul Hillier beschreibt das bewußte Schweben der an Pari intervallo erinnernden Teile dieses Stückes gut, wenn er meint, es habe „einen fast harmonischen Stillstand, in dem jede Tonhöhe so sorgfältig angeordnet ist wie Steine in einem Zen-Garten“.

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

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