Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Click cover art to view larger version
Track(s) taken from CDA68369

Christ ist erstanden

hymn tune from the Catholisches Gesangbüchlein, Innsbruck, 1588; dating back to the 12th century
author of text

Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: July 2020
Kartause Mauerbach, Vienna, Austria
Produced by Colin Mason
Engineered by Markus Wallner
Release date: October 2021
Total duration: 1 minutes 42 seconds

Cover artwork: Air (c1566). Giuseppe Arcimboldo (1527-1593)
Private Collection / Photo © Fine Art Images / Bridgeman Images


‘Regular readers will know that I hold Cinquecento in especially high regard so it will come as no surprise if I open by saying that this new album, their third to feature works by Jacob Regnart (c1540/45-1599), maintains their exquisitely high quality of both performance and programme … Cinquecento are clearly in their comfort zone and immediately find a sweet spot for optimal polyphonic momentum that also allows the phrases room to expand. The balance is wonderfully clear’ (Gramophone)

‘The five voices of Cinquecento are as immaculate as ever, their full sound and flawless intonation leaving a hint of almost organ-like harmonic richness at times, and the spaciousness of the recording suits them and the music really well. It’s fourteen years since they last brought us music by this under-appreciated Renaissance composer—after all, if Lassus rated him he was probably pretty good—and this is beautiful music’ (BBC Record Review)

‘They do make such a beautiful sound … the secret is five wonderful musicians and singers (from five different countries—Austria, Belgium, England, Germany and Switzerland) in the right acoustic, and that really works for this music. They place the microphones exactly right so that we can ‘get’ the building, and the singers can feel the support of that, but we can hear all the detail. That’s what I love about these single-voice recordings, in that actually you can hear the detail of all the parts, and you can with Cinquecento’ (BBC Record Review)

‘I doubt that Regnart could have better advocates than Cinquecento, or ever will. To return to my opening words, the claim that they are ideally suited to this music is fully borne out by the performances, and the recording, especially in 24-bit format, and the presentation could hardly be bettered. As usual with Hyperion, the booklet, which comes with the download is an important factor in my recommendation—a few select labels match them in this, but others, contemptuous of those who buy their music, don’t think it important to include the booklet, even for music with unfamiliar texts. Lovers of the music of this period need not hesitate, especially those who have already chosen one or more of Cinqucento’s earlier recordings’ (MusicWeb International)» More

‘As with all of their recordings, Cinquecento Renaissance Vokal sound fabulous in this music. Recorded in a suitably resonant acoustic, the balance is perfect, and the unified sonority and superb intonation and articulation from this vocal quintet gives the impression of something grander than such compact forces might lead you to expect. This release joins their recording of Regnart’s Missa Super Oeniades Nymphae, and should be snapped up without delay’ (MusicWeb International)» More

‘Vocal balance, an essential feature, is Cinquecento’s forte, aided here by a wonderfully clear recording. It took place in a beautiful former Carthusian monastery on the outskirts of Vienna. The venue has an ideal acoustic, spacious and intimate, and it allows for clear diction. Erika Supria Honisch’s excellent booklet essay is accompanied by all the texts’ (MusicWeb International)» More
Christ ist erstanden (‘Christ is risen’) can be traced back to the twelfth century. Expanding from a single strophe to three strophes by the fifteenth century, it was evidently sung by the congregation in alternation with (or as an alternative to) the Easter sequence Victimae paschali laudes. The last of these three strophes repeats over and over again the word ‘Alleluia’, a joyful acclamation that is not sung—and thus not heard—during Lent, the sorrowful and reflective forty-day period leading up to Easter. The hymn was so ubiquitous that the astronomer Johannes Kepler—employed for several years at the Prague Imperial court—could quote just a snippet of the tune in his Harmonices mundi (1619) as an example of a ‘naturally ordered song’, and trust his German readers to recognize it even without the words.

The hymn was included in the Catholisches Gesangbüchlein (‘Little Catholic songbook’), a pocket-sized hymnal printed with the Archduke’s approval (and perhaps even his involvement) in Innsbruck in 1588. It appears in a section headed ‘Old Catholic Easter songs’, the pre-Reformation origin helping to cement the argument made in the preface: that singing the Lord’s praises in the mother tongue was not a Lutheran innovation but rather an ‘age-old Catholic practice’, beneficial not only for individuals young and old, but for all of Christendom.

from notes by Erika Supria Honisch © 2021

On peut faire remonter Christ ist erstanden («Christ s’est levé») au XIIe siècle. Il passa d’une à trois strophes au XVe siècle et était apparemment chanté par l’assemblée des fidèles en alternance avec (ou comme alternative à) la séquence de Pâques Victimae paschali laudes. La dernière de ces trois strophes répète à plusieurs reprises le mot «Alléluia», acclamation joyeuse qui n’est pas chantée—et donc pas entendue—pendant le Carême, la période triste et recueillie de quarante jours qui mène à Pâques. Cet hymne était si omniprésent que l’astronome Johannes Kepler—employé pendant plusieurs années à la cour impériale de Prague—pouvait citer juste un fragment de l’air dans ses Harmonices mundi (1619) comme exemple d’un «chant naturellement ordonné», et compter sur le fait que ses lecteurs allemands le reconnaîtraient même sans les paroles.

Les deux hymnes figuraient dans le Catholisches Gesangbüchlein («Petit livre de chant catholique»), un tout petit recueil de cantiques imprimé avec l’approbation de l’archiduc (et peut-être même sa participation) à Innsbruck en 1588. Les hymnes apparaissent dans une section intitulée «Vieux chants de Pâques catholiques», leurs origines antérieures à la Réforme aidant à cimenter l’argument avancé dans la préface: chanter les louanges du Seigneur dans sa langue maternelle n’est pas une innovation luthérienne mais plutôt une «pratique catholique ancestrale», bénéfique non seulement pour les individus de tous âges, mais pour toute la chrétienté.

extrait des notes rédigées par Erika Supria Honisch © 2021
Français: Marie-Stella Pâris

Christ ist erstanden kann bis ins 12. Jahrhundert zurückverfolgt werden. Bis zum 15. Jahrhundert wurde es von einer einzigen Strophe auf drei Strophen erweitert und offensichtlich von der Gemeinde im Wechsel mit (oder als Alternative zu) der Ostersequenz Victimae paschali laudes gesungen. In der letzten dieser drei Strophen wird das Wort „Alleluia“ immer wieder wiederholt—ein Ausruf der Freude, welcher während der Fastenzeit, der traurigen und besinnlichen vierzigtägigen Zeit vor Ostern, nicht gesungen (und damit auch nicht gehört) wird. Das Lied war so allgegenwärtig, dass der Astronom Johannes Kepler, der einige Jahre am Prager Kaiserhof beschäftigt war, einen Ausschnitt der Melodie in seinen Harmonices mundi (1619) als Beispiel für ein „natürlich geordnetes Lied“ anführen und sich dabei darauf verlassen konnte, dass seine deutschen Leser es auch ohne den Text erkennen würden.

Beide Lieder wurden in das Catholische Gesangbüchlein aufgenommen, ein Gesangbuch im Taschenformat, das 1588 mit der Zustimmung des Erzherzogs (und vielleicht sogar mit seiner Beteiligung) in Innsbruck gedruckt wurde. Die Lieder erscheinen in einem Abschnitt mit der Überschrift „etliche alte Catholische Gesang auff Ostern“, wobei ihre vorreformatorischen Ursprünge das im Vorwort angeführte Argument untermauern, das Singen des Gotteslobes in der Muttersprache sei keine lutherische Neuerung, sondern vielmehr „ein Uralter in der Christenlichen Catholischen Kirchen herkomner gebrauch“, von Nutzen nicht nur für junge und alte Menschen, sondern für die gesamte Christenheit.

aus dem Begleittext von Erika Supria Honisch © 2021
Deutsch: Viola Scheffel

Waiting for content to load...
Waiting for content to load...