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 CDA67579

Continuo lacrimas

In mortem Clementis non Papae; 6vv
author of text

Recording details: June 2006
Dominikanerkirche, Retz, Austria
Produced by Stephen Rice
Engineered by Markus Wallner
Release date: February 2007
Total duration: 3 minutes 39 seconds


'From this showing, Cinquecento would be well placed to advocate Vaet further. An all-male a cappella ensemble, they sound clear and bright, and articulate the music lucidly' (Gramophone)

'The fine motets recorded here suggest that his [Vaet] skill in achieving the closest possible union between text and music was comparable with that of Lassus. This is especially obvious in the darkly sonorous Videns Dominus, which tells the story of the raising of Lazarus, with its slow sustained evocation of Jesus's grief, and the climactic rising and falling scale figures symbolising the opening of the tomb. Ascendetis post filium provides the basis for an attractive Mass by his colleague Antonius Galli, which also contains many Lassus-like touches, including sudden brief bursts of triple time and the reiteration of quirky little rhythmic figures … Cinquecento's six male voices produce a rich and expressive sound … this is a very promising debut disc' (The Daily Telegraph)

'Continuo lacrimas, Vaet's gracious lament on the death of the composer Clemens non Papa, is a small masterpiece both in technique and emotional resonance … Cinquecento is an all-male vocal ensemble with members drawn from five European countries … the voices are young, lithe, pure in intonation and warm in timbre—in short, ideal for interpreting Renaissance polyphony. Their phrasing is supple, mellifluous and understated, while always alert to the musical rhetoric … no lover of Renaissance polyphony should overlook this outstanding début recording' (International Record Review)

'This revelatory disc, beguilingly sung, includes Galli's exquisite Missa Ascendetis post filium' (Classic FM Magazine)

'Such a collection of rarities would be commendable even if the performances were not so fine. Cinquecento makes this a triumphant debut recording, indicating that we can look forward to more Renaissance polyphony of similar interest. The six male voices, based in Vienna but coming from five countries, display a fine ensemble, doubtless a necessary result of working together without a leader. The Mass by Galli is worth the price of the disc, a fine work of the period and the sort of thing that was just waiting to be revived. Give this disc a hearing and be prepared for a revelation' (Fanfare, USA)

'A jaw-droppingly beautiful collection of a capella choral works by Jacobus Vaet, Antonius Galli, Pieter Maessens and Orlando Lassus performed by the male six-voice ensemble Cinquecento. All were written for the 16th-century Hapsburg court, and they run the gamut from Vaet's sweetly straightforward antiphon 'O quam gloriosum' to Galli's brilliant parody mass on 'Ascendetis post filium'. Cinquecento's sound is creamy and sweet, and the music is exceptionally fine. Highly recommended' (CD Hotlist, USA)

'This is Cinquecento's debut recording, an all-male ensemble which promises to rival the best of their kind in the choral scene. Indeed these are thrilling, exhilarating performances which should go a long way towards establishing this repertoire on a sounder footing. Worth buying, if only for Vaet's masterly motets … [Missa Ascendentis post filium] is a slow and 'deliberate' work. Listen to the mournful 'Kyrie' with some of the qualities of a dream, moving slowly and barely making an impact on the world, on which it yet so totally relies. That, convincingly, is how Cinquecento present it. No fuss, no undue emphasis on its heights and depths. Yet it's all the more impressive for their holding back as they feel their way through the music. Their performance—listen to the Gloria—has a particularly effective mix of majesty, magnificence and intimacy. Pretty much how you would expect and have wanted a contemporary performance to have sounded. This Mass is perhaps the high-point of this disc; the Credo, for instance, is a movement of ethereal beauty, intensely personal and low key but with a conviction—given the parallel dedication and careful drive of Cinquecento—that lends this highly colored work such power and feeling' (Classical.net)

'Pour servir cette 'Musique à la cour de Maximilien II de Bohême', oncle de Charles Quint, le chant de l'ensemble Cinquecento est séduisant. La qualité des tutti, l'accord homogène (et légèrement réverbéré) entre l'agilité des pupitres aigus et l'ampleur des basses font sonner les nombreuses trouvailles harmoniques qui parsèment ces oeuvres méconnues … la chapelle de Maximilien II regroupait surtout des compositeurs flamands de la génération de Nicolas Gombert, c'est-à-dire inspirée par un flux musical continu. Des aspérités harmoniques viennent rehausser des textures denses sous la forme de fausses relations que Cinquecento fait sonner avec beaucoup d'adresse, surtout dans le beau motet de déploration Continuo lacrimas' (Le Monde de la Musique, France)
The motet Continuo lacrimas was written neither for use in the Habsburg chapel nor in honour of any state occasion. Rather, it commemorates the premature and possibly violent death of the composer Jacobus Clemens non Papa (c1510–1555/6). Clemens had been associated with the du Croÿ family, dukes of Aarschot and lieutenants of the Habsburgs in the Low Countries; Vaet also wrote a parody Mass on Clemens’s most famous motet, the seven-voice Ego flos campi (see Hyperion CDA67733). It is not known, however, whether the association between the composers had been a more personal one. Vaet’s elegiac work is set in six voices, with a cantus firmus intoning the melody Requiem aeternam, the introit at Masses for the dead. Around this long-note framework the other voices weave a varied polyphonic texture which seems to make reference to Clemens’s favoured melodic and harmonic gestures on several occasions, most obviously at the final cadence with its unprepared suspension and the passing motion immediately before the last chord.

from notes by Stephen Rice © 2007

Le motet Continuo lacrimas commémore la mort prématurée, et peut-être violente, du compositeur Jacobus Clemens non Papa (env. 1510–1555/56), qui fut associé aux du Croÿ, ducs d’Aarschot et lieutenants des Habsbourg aux Pays-Bas. Vaet écrivit aussi une messe-parodie sur le plus fameux motet de Clemens, l’Ego flos campi à sept voix. On ignore, cependant, si l’association entre les deux compositeurs prit un tour plus personnel. L’œuvre élégiaque de Vaet est à six voix, avec un cantus firmus entonnant la mélodie Requiem aeternam, l’introït de la messe des morts. Autour de cette trame en notes longues, les autres voix tissent une texture polyphonique variée, qui semble faire plusieurs allusions aux gestes mélodico-harmoniques préférés de Clemens—comme le montrent, à l’évidence, la cadence finale, avec sa suspension non préparée, et le mouvement passager, juste avant le dernier accord.

extrait des notes rédigées par Stephen Rice © 2007
Français: Hypérion

Die Motette Continuo lacrimas gedenkt stattdessen des frühen und möglicherweise gewaltsamen Todes des Komponisten Clemens non Papa (ca. 1510–1555/56). Clemens war mit der du-Croÿ-Familie assoziiert, den Herzogen von Aarschot und Leutnants der Habsburger in den Niederlanden. Vaet schrieb eine Parodiemesse über Clemens’ berühmteste Motette, das siebenstimmige Ego flos campi. Es ist jedoch nicht bekannt, ob die beiden Komponisten eine persönliche Verbindung hatten. Vaets elegisches Werk ist für sechs Stimmen gesetzt, und intoniert, der die Melodie Requiem aeternam, den Introitus der Totenmesse, als Cantus firmus. Um dieses musikalische Gerüst in langen Notenwerten flechten die anderen Stimmen ein vielfältiges polyphones Gewebe, das mehrfach auf Clemens’ bevorzugte melodische und harmonische Gesten Bezug zu nehmen scheint, am deutlichsten in der Schlusskadenz mit ihrem unvorbereiteten Vorhalt und den Durchgangsnoten vor dem Abschlussakkord.

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

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