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 CDA66190

Missa O magnum mysterium

author of text
Ordinary of the Mass

Westminster Cathedral Choir, David Hill (conductor)
Recording details: January 1985
Westminster Cathedral, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell
Release date: March 1987
Total duration: 22 minutes 8 seconds


'David Hill and the Choir of Westminster Cathedral have repeated the spectacular success of their earlier Gramophone Award-winning record' (Gramophone)

'Superb music, and the listener is thrillingly involved when the sound so successfully combines immediacy and body, yet remains admirably coloured by the Westminster resonance' (The Penguin Guide to Compact Discs)

'Magnificent!' (Hi-Fi News)
The motet O magnum mysterium (published in 1572) became the basis for a Mass (also for four-part choir) published by Victoria twenty years later, in 1592. It uses all the motives of the motet except for the wonderful brief moment of the ‘O beata Virgo’ section. Victoria, it seems, omitted this from the material for the Mass because it was suitable only for quotation, not development. Similarly he omitted the opening phrase of ‘O quam gloriosum’ in his famous Mass on that motet.

In the Missa O magnum mysterium Victoria swings into triple time briefly just once in the Gloria, fleetingly three times in the Credo, and then to great effect in the Hosanna which follows both Sanctus and Benedictus. He varies his four-part vocal texture just twice. The Benedictus is for three voices (the bass is silent), and in the single setting of Agnus Dei he divides the trebles and makes them sing in canon at the unison. This five-part ending is customarily repeated to accommodate the words ‘dona nobis pacem’.

from notes by Bruno Turner © 1985

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