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 CDA67586

Os iusti meditabitur

1879; 4/8vv; Lydian mode; composed for Ignaz Traumihler, choirmaster at St Florian
author of text
Psalm 36 (37): 30-31

Westminster Abbey Choir, James O'Donnell (conductor)
Recording details: February 2006
Westminster Abbey, London, United Kingdom
Produced by Jeremy Summerly
Engineered by Simon Eadon
Release date: September 2006
Total duration: 4 minutes 39 seconds

Other recordings available for download

Polyphony, Stephen Layton (conductor)
Corydon Singers, Matthew Best (conductor)
Voces 8
Tenebrae, Nigel Short (conductor)


'Anglican music can be heard at its best from Westminster Abbey … a varied programme stylishly performed' (Choir & Organ)

'Early notice is served of how well the Abbey's choristers are currently singing … an admirably varied programme, with excellent Hyperion recording' (BBC Music Magazine)

'Exhilarating performances' (The Daily Telegraph)

'As with the previous releases in this series, the choir (and organist Robert Quinney, who here ends the disc in spectacular fashion with Jeanne Demessieux's Te Deum), under the fluent direction of James O'Donnell, is above reproach' (International Record Review)

'After eight years James O'Donnell has brought a new sound to the choir of Westminster Abbey. The boys show the greater improvement, a firmer, more solid tone, but the men also now sound like the best adult choirs … the acoustics of the Gothic building are superb, and the organ makes magnificent sounds' (Fanfare, USA)

'The range of musical styles is as varied as could be … the standard of singing and recording is fully equal to such demanding music, but it is equally satisfying to hear psalms and familiar canticles, Stanford in C (Morning) and Purcell in G minor (Evening) performed with such loving care. An excellent disc, highly recommended' (Cathedral Music)
On one level this is the most ‘purist’ product of Bruckner’s engagement with the principles of Franz Xaver Witt. Set in the old Church Lydian Mode (the white-note scale based on F) throughout, it contains no sharps or flats, no ‘dominant’ sevenths, and no six–four (second inversion) chords—the last two anathematized according to the supposed ‘rules’ of Palestrina’s time. The miracle is that it all sounds so effortless and natural, without so much as a hint of ironic or sentimental archaism. The central section (‘et lingua eius’) comprises some of the most serenely beautiful counterpoint in all Bruckner. At its conclusion, Os iusti dovetails skilfully into a plainchant ‘Alleluia’ celebrating the ancient wisdom of the Church.

from notes by Stephen Johnson © 2007

Il s’agit du produit brucknérien le plus «puriste» au regard des principes de Franz Xaver Witt. Recourant au vieux mode ecclésiastique lydien (la gamme en touches blanches fondée sur fa), il ne contient ni dièses, ni bémols, ni septièmes de «dominante», ni accords de sixte et quarte (deuxième renversement)—ces deux derniers étant anathématisés selon les «règles» supposées du temps de Palestrina. Le miracle, ici, c’est que rien ne sent l’effort ou l’artifice; on ne décèle pas même un soupçon d’archaïsme ironique ou sentimental. La section centrale («et lingua eius») compte parmi les contrepoints les plus sereinement beaux de tout Bruckner. À sa conclusion, Os iusti s’ajuste habilement à un «Alléluia» en plain-chant célébrant l’antique sagesse de l’Église.

extrait des notes rédigées par Stephen Johnson © 2007
Français: Hyperion Records Ltd

Auf einer Ebene ist dies das „puristischste“ Produkt von Bruckners Beschäftigung mit den Prinzipien von Franz Xaver Witt. Es steht durchweg in der alten lydischen Kirchentonart (weiße Tasten, beginnend auf F), enthält keine Kreuze oder bs, keine „Dominantsept“-Akkorde und keine Quartsextakkorde (zweite Umkehrung)—die letzten beiden anhand der angenommenen „Regeln“ der Palestrinazeit verpönt. Es ist ein Wunder, dass alles so mühelos und natürlich klingt, ohne jeglichen Hauch von ironischem oder sentimentalem Archaismus. Der Mittelteil („et lingua eius“) enthält einige der friedlichsten und schönsten kontrapunktischen Passagen Bruckners. Zum Abschluss geht Os iusti geschickt in ein choraliter gesungenes „Alleluia“ über, das die alte Weisheit der Kirche zelebriert.

aus dem Begleittext von Stephen Johnson © 2007
Deutsch: Renate Wendel

Other albums featuring this work

A choral tapestry
Studio Master: SIGCD283Download onlyStudio Master FLAC & ALAC downloads available
Brahms & Bruckner: Motets
Studio Master: SIGCD430Download onlyStudio Master FLAC & ALAC downloads available
Bruckner: Mass & Motets
CDA67629Archive Service
Bruckner: Motets
Waiting for content to load...
Waiting for content to load...