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Track(s) taken from CDA67225

Ascendit Christus in altum

Berlin Staatsbibliothek
author of text

Robin Blaze (countertenor), The Parley of Instruments, Peter Holman (conductor)
Recording details: June 2000
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell & Julian Millard
Release date: March 2001
Total duration: 7 minutes 5 seconds


'An excellent release … Robin Blaze’s clear, pure countertenor is the ideal voice for these pieces, and he sings them with impressive authority. Pick of the month' (BBC Music Magazine)

'The intrinsic qualities of this little-explored repertoire and Blaze’s musicianship mark this as an important release' (American Record Guide)

'Blaze is at his most impassioned and convincing … this disc will add to our understanding and love of this treasure house' (International Record Review)

'It is a rare thing to reach the end of a long program like this wanting more, yet that’s exactly what happened to me in this instance. All readers are urged to investigate a remarkable disc that is assured of being an exceptionally strong contender for the Want List' (Fanfare, USA)

'Robin Blaze has justifiably moved quickly into the elite of counter-tenors. Not only is he convincing vocally but his interpretative instincts are sound' (Cathedral Music)

'I would recommend this disc to anyone with a love for baroque vocal music' (MusicWeb International)

'An appealing concert of Venetian sacred music … as always with Hyperion, gorgeous sound' (Early Music)
In Rosenmüller’s Ascendit Christus in altum the process of simplifying and clarifying the musical thought is taken carefully. It consists of a joyful triple-time passage that encloses a brief recitative and a duple-time strophic aria. Though a German, Rosenmüller worked for more than twenty years in Venice, an exile from his native Leipzig as the result of a homosexual scandal. It is pleasant to record, however, that in old age he returned to his native land to become the honoured Kapellmeister of the Wolfenbüttel court. Although Ascendit Christus in altum only survives in a German source, it was almost certainly written during his time in Venice.

from notes by Peter Holman © 2001

Ascendit Christus in altum de Rosenmüller pousse le processus de simplification et de clarification de la pensée musicale assez loin. Cette œuvre se compose d’un passage animé ternaire incorporant un court récitatif et un air strophique binaire. S’il était allemand, Rosenmüller travailla pendant plus de vingt ans à Venise, ayant dû s’exiler de son Leipzig natal à la suite d’un scandale homosexuel. Dans son vieil âge il retourna dans son pays natal pour devenir le Kapellmeister fort honoré de la cour de Wolfenbüttel. Si Ascendit Christus in altum n’a survécu que dans des sources allemandes, on est presque certain qu’il a vu le jour à Venise.

extrait des notes rédigées par Peter Holman © 2001
Français: Isabelle Battioni

Das Werk besteht aus einer frohgestimmten Passage im Dreiertakt, die ein kurzes Rezitativ und eine strophische Arie im Zweiertakt einrahmt. Obwohl er Deutscher war, gehört Rosenmüller in den Rahmen des vorliegenden Programms, da er nach der Vertreibung aus seiner Heimatstadt Leipzig infolge eines Skandals im Zusammenhang mit Homosexualität rund zwanzig Jahre lang in Venedig tätig war. Es freut einen jedoch, feststellen zu können, daß er im Alter in seine Heimat zurückkehrte, um als Kapellmeister am Wolfenbütteler Hof zu Ehren zu kommen. Ascendit Christus in altum ist zwar nur in einer deutschen Quelle erhalten, wurde jedoch mit an Sicherheit grenzender Wahrscheinlichkeit während Rosenmüllers Zeit in Venedig komponiert.

aus dem Begleittext von Peter Holman © 2001
Deutsch: Anne Steeb/Bernd Müller

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