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Track(s) taken from CDA67548

Derelinquat impius

Cantiones quae ab argumento sacrae vocantur (1575)
author of text
Fifth Respond at Matins on the First Sunday in Lent

The Cardinall's Musick, Andrew Carwood (conductor)
Recording details: January 2005
Fitzalan Chapel, Arundel Castle, United Kingdom
Produced by Jonathan Freeman-Attwood
Engineered by Martin Haskell & Iestyn Rees
Release date: July 2005
Total duration: 3 minutes 55 seconds

Other recordings available for download

The Tallis Scholars, Peter Phillips (conductor)
Chapelle du Roi, Alistair Dixon (conductor)


'In its entirety this disc is a sublime tribute both to one of England's greatest composers, and to the skill and conviction of one of today's finest ensembles' (Gramophone)

'This superbly sung selection of some of his finest Latin church music will surely prove to be one of Tallis's very best 500th birthday presents. It is hard to imagine a better performance of the magnificent six-part votive antiphon Gaude gloriosa' (The Daily Telegraph)

'This is the first manifestation of the new exclusive contract between Hyperion and the Cardinall's Musick. With Andrew Carwood's scholarly approach to Tudor music, coupled with the individual excellence of each of his singers and the superlative production values of Hyperion, I suspect this is going to be a very fruitful collaboration' (International Record Review)

'This is a highlight of the Tallis year' (Fanfare, USA)

'This marvellously full-throated performance can stand comparison with any … throughout, the performances maintain the high level The Cardinall's Musick have consistently displayed in their Byrd series, being beautifully tuned and balanced … a strong 5-star recommendation' (Goldberg)
It is possible that Derelinquat impius, a plea for the sinful to return to the Lord, was one of the last pieces written by Tallis. He appears to be almost in experimental mode, defying any tonal centre from the outset so that the cadence in A major at bar 17 feels surprising and unsettling because of the peregrinations of the opening bars. There are eyebrow-raising melodic moments also, like the upward leap of a seventh at the word ‘misericors’ (‘merciful’) and some wonderful textural effects throughout.

from notes by Andrew Carwood © 2005

Derelinquat impius, qui supplie les pécheurs de revenir vers le Seigneur, fut peut-être l’une des dernières pièces composées par Tallis, que l’on sent presque sur le ton de l’expérimentation, opposé d’emblée à un quelconque centre tonal, si bien que la cadence en la majeur, à la mesure 17, paraît surprenante et troublante au regard des pérégrinations des mesures d’ouverture. S’ajoutent à cela des moments mélodiques qui étonnent, tel le bond ascendant d’une septième au mot «misericors» («miséricordieux»), sans oublier de merveilleux effets de texture, omniprésents.

extrait des notes rédigées par Andrew Carwood © 2005
Français: Hypérion

Es ist möglich, dass Derelinquat impius, eine Bitte, dass die Sünder zum Herrn zurückkehren mögen, eines der letzten Stücke Tallis’ war. Er zeigt sich hier fast experimentell und entzieht sich von Anfang an jeglicher Tonalität, so dass die Kadenz in A-Dur in Takt 17 aufgrund der Ausflüge in den ersten Takten überraschend und verunsichernd wirkt. In der melodischen Stimmführung passiert ebenfalls Unerwartetes, so etwa der nach oben gerichtete Septsprung bei dem Wort „misericors“ („gnädig“). Zudem sind im gesamten Stück wunderbare textliche Effekte zu beobachten.

aus dem Begleittext von Andrew Carwood © 2005
Deutsch: Viola Scheffel

Other albums featuring this work

Tallis: Lamentations of Jeremiah
Tallis: The Complete Works, Vol. 7
SIGCD029Download only
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