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 CDA66826

Dum transisset Sabbatum

author of text
Mark 16: 1, 2; Thrid Respond at Matins on Easter Day

St Paul's Cathedral Choir, John Scott (conductor)
Recording details: June 1995
St Paul's Cathedral, London, United Kingdom
Produced by Arthur Johnson
Engineered by Antony Howell & Julian Millard
Release date: April 1996
Total duration: 5 minutes 14 seconds


'St Paul's is the king of cathedral choirs, and the sound of their singing, with the majesty of the organ in the awesome reverberance of the great building to match, is as rich and noble as any sound on earth' (Gramophone)

'Truly heroic performances from the St Paul's Choir which is on top form. A memorable record' (Organists' Review)
Like John Tavener, Jonathan Harvey (b1939) has drawn compositional inspiration from religious material. Harvey has also been inspired by many composers and theorists: Erwin Stein, Hans Keller, Schoenberg, Babbit, Schenke, Britten, Tippett and others. In his early years, Harvey deliberately cultivated an eclectic outlook in his own music, although many of the works from this period were withdrawn. He is also an enthusiastic electro-acoustic composer, and has worked at the Institut de Recherche et Coordination Acoustique/Musique (IRCAM) in Paris. Perhaps it is these multifarious influences which contribute to Harvey’s rich and varied compositional output.

Dum transisset sabbatum was commissioned for the 1995 City of London Festival Service and first performed by the choir at St Paul’s Cathedral conducted by John Scott on 2 July 1995. The composer has kindly provided the following note for this recording:

The motet takes a seemingly simple moment from the Gospel, significant because it is a very feminine moment in a masculine doctrine and a moment of great mystical power, on the verge of Christianity as a supernatural force. The ‘virtuosic vocality’ is a celebration of the florid, ecstatic atmosphere of Easter morning. The exuberant lines—usually one fast, one medium speed and one slow—are woven through eight modes which recur in order with ever shorter time-spans until they are crunched into chords at the end.

from notes by William McVicker © 1996

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