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A solis ortus cardine / Beatus auctor saeculi

1607; re-published in the 1622 Cantiones Sacre; SSATTB; alternatim
author of text
Hymn at Lauds on the Nativity of Our Lord

A solis ortus cardine / Beatus auctor saeculi alternates plainchant with polyphony, although in this case the polyphonic verses are based much more closely on the notes of the plainchant hymn than are the polyphonic verses of the Magnificats. The technique of using a plainchant melody stretched out in long notes in one of the lowest voice parts was part of a compositional tradition stretching back for hundreds of years. Praetorius uses the technique (albeit not entirely strictly) to lend an antique feel to this motet’s varied textures.

from notes by Jeremy Summerly © 2008

A solis ortus cardine / Beatus auctor saeculi est marqué par une alternance de plain-chant et de polyphonie, même si les versets polyphoniques s’appuient beaucoup plus sur les notes de l’hymne grégorienne. Utiliser, à l’une des parties les plus graves, une mélodie de plain-chant étirée en valeurs longues ressortissait à une tradition séculaire. Praetorius recourt à cette technique (quoique de manière pas tout à fait stricte) pour donner un côté vieillot aux textures variées de son motet.

extrait des notes rédigées par Jeremy Summerly © 2008
Français: Hypérion

Vertonungen alterniert auch A solis ortus cardine / Beatus auctor saeculi zwischen Choral und Polyphonie, obwohl die polyphonen Verse sich in diesem Fall näher an die Choralmelodie halten als die der Magnificats. Die Technik, eine Choralmelodie in langen Notenwerten als eine der tiefsten Stimmen zu verwenden, gehört zu einer Jahrhunderte alten Kompositionstradition. Praetorius nutzt diese Technik (wenn auch nicht ganz strikt), um dieser abwechslungsreichen Motette ein antikes Flair zu verleihen.

aus dem Begleittext von Jeremy Summerly © 2008
Deutsch: Renate Wendel


Praetorius (H): Magnificats & motets


Track 3 on CDA67669 [8'20]

Track-specific metadata for CDA67669 track 3

Recording date
20 February 2008
Recording venue
Fitzalan Chapel, Arundel Castle, United Kingdom
Recording producer
Jonathan Freeman-Attwood
Recording engineer
Martin Haskell & Iestyn Rees
Hyperion usage
  1. Praetorius (H): Magnificats & motets (CDA67669)
    Disc 1 Track 3
    Release date: October 2008
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