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 CDA67459

Um Mitternacht

1959/60; published in 1994
author of text

Mark Padmore (tenor), Roger Vignoles (piano)
Recording details: February 2004
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: February 2005
Total duration: 4 minutes 5 seconds

Other recordings available for download

Gerald Finley (baritone), Julius Drake (piano)
Ian Bostridge (tenor), Graham Johnson (piano)
Mark Padmore (tenor), Iain Burnside (piano)


'This is still a voice of youthful freshness, commanded with skill and assurance. The programme tests his musicianship very thoroughly, and it reveals also considerable powers of expressiveness, both forthright and subtle … Vignoles is marvellously clear in notes (often fiendishly difficult) and rhythm, and he contributes an excellent essay' (Gramophone)

'Sung by Mark Padmore who, on this form and in this repertory, seems to me to be unrivalled among younger English tenors … With Roger Vignoles as the Britten-like pianist, this ranks as one of the finest discs of English songs to have been issued for some years' (The Sunday Telegraph)

'Mark Padmore and Roger Vignoles perform all these songs with great understanding and sensitivity; in fact I was surprised at how much intensity of feeling they found in the stark Hölderlein songs. Padmore is equally at ease with the minutely expressive wordsetting of the Britten songs and the long, soaring lines of the Tippett' (BBC Music Magazine)

'This is a remarkable debut recital by one of the most intelligent, musical and thoughtful British singers before the public today. It's not easy listening, but Padmore and Vignoles demonstrate song's unique power to shake, stir and move. The recorded balance is ideal, but no company is more experienced in the art-song repertoire than Hyperion. Another jewel in an already superlative crown' (International Record Review)

'Boyhood's End is more of a continuous cantata than a song cycle, and Padmore's concentration on the beauty of the continuous, excitable melisma is surely the right way to go, when Tippett's vocal writing is at it's early, florid best. Padmore's accurate tenor is really used as another, powerful instrument. The voice seems more played than sung' (Fanfare, USA)
Britten’s setting of Goethe’s ‘Um Mitternacht’ (published in 1994) was probably composed in 1959, shortly after the composer’s strong interest in German poetry had borne fruit in his tenor song-cycle Sechs Hölderlin-Fragmente. At this time, Pears was enjoying an enviable reputation as one of the leading exponents of Lieder in the world, repeatedly earning ecstatic reviews in the German press that inspired the BBC to capitalize on this success by carefully promoting his and Britten’s work in Germany.

from notes by Mervyn Cooke © 2010

La mise en musique du goethéen «Um Mitternacht» (publiée en 1994) date probablement de 1959, peu après que le vif intérêt de Britten pour la poésie allemande eut porté ses fruits dans un cycle de lieder pour ténor, Sechs Hölderlin-Fragmente. À cette époque, Pears avait l’enviable réputation de compter parmi les plus grands apôtres mondiaux du lied, s’attirant à plusieurs reprises les critiques extatiques de la presse allemande—d’où l’idée de la BBC d’exploiter ce succès en se faisant le promoteur attentif de son travail et de celui de Britten en Allemagne.

extrait des notes rédigées par Mervyn Cooke © 2010
Français: Hypérion

Brittens 1994 veröffentlichte Vertonung von Goethes „Um Mitternacht“ entstand wahrscheinlich 1959, kurz nachdem Brittens starkes Interesse an deutscher Lyrik seinen Ausdruck in dem Tenorliederzyklus Sechs Hölderlin-Fragmente gefunden hatte. Zu dieser Zeit war Pears als führender Liederinterpret weltberühmt und erhielt regelmäßig die lobendsten Kritiken in der deutschen Presse, was die BBC veranlasste, diesen Erfolg durch sorgfältige Förderung des Schaffens von Britten und Pears in Deutschland nutzbar zu machen.

aus dem Begleittext von Mervyn Cooke © 2010
Deutsch: Henning Weber

Other albums featuring this work

Britten: Britten Abroad
SIGCD122Download only
Britten: Songs & Proverbs of William Blake
Britten: The Red Cockatoo & other songs
Waiting for content to load...
Waiting for content to load...