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Track(s) taken from CDA67559

Ave Maria, Op 12

1858; first performed, with orchestral accompaniment, at the Gradener Akademie in Hamburg on 2 December 1859, Brahms conducting; published 1861
author of text
Antiphon for the Blessed Virgin Mary

Westminster Cathedral Choir, Martin Baker (conductor), Matthew Martin (organ)
Recording details: July 2005
Westminster Cathedral, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: June 2006
Total duration: 3 minutes 56 seconds

Other recordings available for download

Corydon Singers, John Scott (organ), Matthew Best (conductor)
Tenebrae, Nigel Short (conductor)


'Baker and his choir do a fine job with these pieces. The conclusion to Schaffe in mir is wonderfully exciting … while the close to Geistliches Leid, a work too easily dismissed as 'just' a church anthem, is gorgoeously ardent. In Warum? Baker does not overlook the dramatic side of the text and turns in a performance that is both technically excellent and exciting. And Rheinberger's Mass, a beautiful work with rich sonorities, has a fine musical sensitivity and flow' (American Record Guide)

'It is hard to imagine finer singing of these sacred scores from Brahms and Rheinberger than that from the Westminster Cathedral Choir. The Cathedral choristers display a remarkable technical prowess and refinement. From the riveting Kyrie of the Missa Canonica to the symphonic conclusion of the Agnus Dei of the Mass for double choir, Martin Baker directs winning performances, that are marvellously fresh and well-paced. In the exceptional ecclesiastical acoustic of Westminster Cathedral the male choir’s timbre is rich and immediate, with a robust edge that seems ideal for these compelling scores. The highlight for me is the direct and vital quality to the Westminster choir’s singing in Rheinberger’s magnificent Mass. The contribution from organist Matthew Martin is first rate, providing immediacy, without ever being obtrusive. These are superbly performed and recorded sacred works that lovers of choral music will surely relish' (MusicWeb International)
Composed in 1858, but not published until 1861, the first performance of the Ave Maria Op 12 was given at the Gradener Akademie in Hamburg on 2 December 1859, with orchestral accompaniment, along with the Funeral Hymn Op 13, both directed by Brahms. It represents the composer’s first published attempt at combining vocal and instrumental music, and although there are certain infelicities, the obvious warmth of expression contrasts markedly with the main body of the motets as a whole.

from notes by Julian Haylock © 1991

L’Ave Maria op. 12 fut composé en 1858, mais ne fut publié qu’en 1861. Sa première représentation fut donnée à la Gradener Akademie de Hambourg, le 2 décembre 1859, avec un accompagnement orchestral, en même temps que l’«Hymne funèbre» op. 13, sous la direction de Brahms lui-même. Cette œuvre représente le premier essai par le compositeur de combiner la musique vocale et la musique instrumentale et malgré certaines maladresses, la chaleur évidente de l’expression est en contraste marqué avec l’ensemble tout entier des motets.

extrait des notes rédigées par Julian Haylock © 1991
Français: Alain Midoux

Die Uraufführung des 1858 komponierten, aber erst 1861 veröffentlichten Ave Maria op. 12 fand am 2. Dezember 1859 in der Gradener Akademie in Hamburg statt, und zwar mit Orchesterbegleitung. Das Programm sah außerdem den Begräbnisgesang op. 13 vor, und beide Werke wurden von Brahms persönlich dirigiert. Das „Ave Maria“ stellt den letzten veröffentlichten Versuch des Komponisten dar, Vokal- und Instrumentalmusik zu verknüpfen, und obwohl es gewisse Ungeschicklichkeiten aufweist, kontrastiert doch die nicht zu übersehende Wärme seines Ausdrucks deutlich mit den Motetten in ihrer Gesamtheit.

aus dem Begleittext von Julian Haylock © 1991
Deutsch: Anne Steeb/Bernd Müller

Other albums featuring this work

Brahms & Bruckner: Motets
Studio Master: SIGCD430Download onlyStudio Master FLAC & ALAC downloads available
Brahms: Motets
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