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.


First line:
And did those feet in ancient time
author of text
1804; Milton

Sir Jacob Epstein’s bust of William Blake, which commands our attention staring out from Poets’ Corner, is one of the few fine pieces of contemporary art in Westminster Abbey. Those who have a rose-tinted appreciation of Englishness may find this a disturbing representation of the poet and artist who wrote so beautifully of our ‘green and pleasant land’. However, Blake penned the short poem in 1804 by way of introduction to his Milton, a poem—a mystical, metaphysical epic—which combines classical references with Dante-esque imagery, as John Milton returns to earth in order to unite great literary figures of history with Blake himself. Jerusalem refers to the legend that Jesus visited Glastonbury in the years before his public ministry in Galilee. Blake’s romantic imagination contrasts the vision of the heavenly Jerusalem blossoming in England with the darkness of the Industrial Revolution’s ‘satanic mills’.

Parry’s masterful and rousing setting was not initially composed for a great national occasion, but rather for Francis Younghusband’s patriotic Fight for Right Society in 1916. Although it was to be conducted by Walford Davies, Parry was reluctant about seeming to give credence to such ultra-patriotism, and later withdrew his support entirely. To Parry’s delight, Jerusalem was adopted by Millicent Fawcett and the Women’s Suffrage movement in 1917. The Parrys were keen supporters of the fledgling movement for universal suffrage. Jerusalem was sung at the 1918 Suffrage Demonstration Concert, and it remained the property of The National Union of Women’s Suffrage Societies until 1928. It is hard to overstate the hymn’s popularity in contemporary terms, and for many it has become akin to a second English National Anthem, not least through its perennial inclusion in the last night of the Proms programme. It was sung as the final hymn at the wedding of Their Royal Highnesses The Duke and Duchess of Cambridge.

from notes by The Revd Dr James Hawkey © 2014


Parry: I was glad & other choral works
Studio Master: CDA68089Studio Master FLAC & ALAC downloads available
Parry: Sacred Choral Music
CDA66273Last few CD copies remaining
Rejoice, the Lord is king!
Studio Master: CDA68013Studio Master FLAC & ALAC downloads available
The Hymns Album
Studio Master: SIGCD079Download onlyStudio Master FLAC & ALAC downloads available


Track 11 on CDA66273 [2'59] Last few CD copies remaining
Track 22 on CDA68013 [3'06]
Track 8 on CDA68089 [2'49]
Track 1 on SIGCD079 [2'32] Download only

Track-specific metadata for CDA68013 track 22

Recording date
18 January 2013
Recording venue
Westminster Abbey, London, United Kingdom
Recording producer
Adrian Peacock
Recording engineer
David Hinitt
Hyperion usage
  1. Rejoice, the Lord is king! (CDA68013)
    Disc 1 Track 22
    Release date: January 2014
Waiting for content to load...
Waiting for content to load...