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Track(s) taken from CDA68453

Plaine d'ennuy / Anima mea

composer
3vv
author of text
after Song of Songs 5: 6-8

The Gesualdo Six, Owain Park (director)
Studio Master FLAC & ALAC downloads available
CD-Quality:
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Recording details: June 2023
St George's Church, Chesterton, Cambridge, United Kingdom
Produced by Adrian Peacock
Engineered by David Hinitt & James Waterhouse
Release date: July 2024
Total duration: 1 minutes 43 seconds
 

Reviews

‘All in all this is a treasure trove of works, some little known and rarely performed, in a wide variety of styles and vocal scorings spanning the first half of the 16th century. Beautifully sung and meticulously researched, it will generously repay repeated hearings’ (Gramophone)

‘Throughout, The Gesualdo Six offer up introspective and expressive readings—literally deep in the case of Brumel’s prayerful Sub tuum praesidium scored for sonorous low voices, and the same composer’s Du tout plongiet / Fors seulement whose bass line fathoms the abyss … it is impossible to find flaw with the ensemble’s matchless singing’ (BBC Music Magazine)
PERFORMANCE
RECORDING

Mille regretz—a thousand regrets to leave you and to be far from your loving face—attributed to Josquin des Prez in the mid-sixteenth century, flourishing in print. So heartachingly lovely and timeless … it's one of The Gesualdo Six's favourites, they tell us, and, sung with this kind of heart-stopping beauty, mine too’ (BBC Record Review)

‘The repertoire is thoughtfully chosen and cogently explained. It is also beautifully performed, with the ensemble’s characteristic warm sound bringing the music fully to life … Queen of Hearts engages the listener both intellectually and artistically’ (American Record Guide)

‘If the listener doesn't go weak at the knees at the warmly immaculate opening chords of The Gesualdo Six's latest album then a hospital visit is recommended … intricate compositional skill, moments of the tenderest beauty and the thrilling sounds emanating from three, four, six or seven singers thinking, breathing and feeling as one’ (The Times)

‘Music intricately composed and moments of the most tender beauty, delivered by seven male singers with an unflagging ensemble spirit’ (The Times)

‘While The Gesualdo Six’s ninth album has nothing to do with Lewis Carroll’s Queen of Hearts, it does take us, like Carroll’s other famous character Alice, down a fascinating rabbit hole … throughout, warm vocal blend and a sense of shared artistic intimacy underline the exquisitely plangent programming … such heart-rending singing would surely have moved even Carroll’s Queen of Hearts to spare a few heads’ (Limelight, Australia)» More

‘The G6 boys—as they like to call themselves—are really making a name for themselves with these highly polished and inventive programmes, and this album is no exception … they have a knack of making you feel like you're the only one listening to their music … wonderful, intimate singing’ (The Early Music Show)

‘I have only heard two of the nine discs which the all-male group The Gesualdo Six have recorded for Hyperion. I have been missing out on very fine singing … the performances are immaculate, sensitive, committed and moving. I do not hesitate to recommend the disc to those who love wonderful vocal ensembles’ (MusicWeb International)

‘The performances are gorgeous, as usual, from The Gesualdo Six, and Hyperion's sound from St George's Church, Chesterton, Cambridge, adds beautiful layering. This altogether compelling Renaissance release hit classical best-seller charts in the summer of 2024’ (AllMusic, USA)

‘Unlike most chanson collections, this one is characterized throughout by a hushed and reverential tone as well as by The Gesualdo Six’s standard-setting blend and intonation. Another winner from this amazing ensemble’ (CD Hotlist, USA)

„Einfach überwältigend gut—die Stimmen mischen sich perfekt, weiche Höhe, markante Tiefe, blitzesaubere Intonation und Vokalfärbung; dieses Ensemble singt mit einem wunderbaren Fluss und schafft grade die richtige Balance zwischen Spannung und Ruhe, die für die Musik der Renaissance so wichtig ist“ (SWR Kultur, Germany)» More

„Sorgfältig zusammengestellte Programme und exquisite sängerische Darbietungen—das sind die Markenzeichen von The Gesualdo Six … intensiver, schöner und besser kann man die Lieder kaum singen“ (Fono Forum, Germany)
PERFORMANCE
RECORDING

„Gerade mal zehn Jahre alt ist das reine Männerensemble The Gesualdo Six, doch flankiert ihren Weg schon eine Reihe von hochwertigen Einspielungen, die vor allem wegen ihrer Homogenität, Ausdrucksstärke und Farbigkeit allgemein gelobt wurden. Alle diese Attribute bietet auch „Queen of Hearts“ … Ein schönes und abwechslungsreiches Programm, das wieder einmal die Qualitäten des Ensembles in ein strahlendes Licht setzt“ (Fono Forum, Germany)
PERFORMANCE
RECORDING

„Ausgewählt hat man geistliche und weltliche Meisterwerke nicht nur aus der Feder franko-flämischer Größen wie Antoine Brumel, Nicolas Gombert und Jean Mouton. Darunter finden sich gleichermaßen berühmte Abschieds- und Trauergesänge wie Josquin des Prez’ „Mille regretz“ sowie Trouvaillen wie Antoine Févins „Fors seulement“. Und den Bogen ins Hier und Jetzt schlägt man u.a. mit sechsstimmigen Gebeten von Owain Park sowie Ninfea Cruttwell-Reade, die sich mit ihrem magischen Pathos nahtlos in dieses Programm einfügen“ (Rondo, Germany)» More

'Un emozionante ed ideale viaggio sonoro con una meditata selezione brani distinti da un intenso stile imitativo e rigoroso contrappunto … i ragazzi del G6 si stanno davvero facendo un gran nome con questi progetti altamente raffinati e creativi. Questo nuovo album non fa eccezione. Buon ascolto!' (youwinemagazine, Italy)

'Twee nieuwe werken geschreven op het lijf van The Gesualdo Six—een bezwerende bede van Owain Park en een bloedmooi neo-chanson van Ninfea Cruttwell-Reade—gaan dan weer vol voor de typisch Engelse­ensemblesound … puur en onversneden klankgenot' (De Standaard, Belgium)
The technique of conflating new and old is applied in motet-chansons such as Josquin’s Nymphes des bois, where affairs of the modern court (in the spoken language) are combined with sacred or biblical texts in Latin. There are several such motet-chansons in Margaret’s chansonnier, including Compère’s Plaine d’ennuy / Anima mea. Here the upper parts duet in French verse above the bass part’s Latin text in a manner similar to using chant as a cantus firmus—a technique called cantus prius factus. As Brumel honoured Ockeghem by borrowing from Fors seulement, Compère extracts his tenor part from the Song of Songs motet Anima mea liquefacta est by a fellow singer at the Sforza court in Milan, Gaspar van Weerbeke. It befitted Renaissance regents to emphasize their divine right to rule by comparing themselves to biblical royalty such as King David with psalm texts, and King Solomon through the Song of Songs.

from notes by Guy James © 2024

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