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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.
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I am a seashell flung Up from an ancient sea; Now I lie here, among Roots of a tamarisk tree; No one listens to me.
I sing to myself all day In a husky voice, quite low, Things the great fishes say And you most need to know; All night I sing just so.
But lift me from the ground, And hearken to my rim, Only your sorrow’s sound Amazed, perplexed and dim, Comes coiling to the brim;
For what the wise whales ponder Awaking out from sleep, The key to all your wonder, The answers of the deep, These to myself I keep.
Geoffrey Scott (1884-1929)
Frutta di mare was written during the summer of 2011. Geoffrey Scott (1884-1929) was an English scholar and poet, known principally as an architectural historian. His relationship with Vita Sackville-West prompted a literary career that led to a volume of his poetry being published posthumously in 1931. Scott’s poem is one of the earliest 20th-century poems to deal with the subject of ecology. Its essential message is, that mankind has become far too self-absorbed to hear Nature’s warnings. The song follows closely the poem’s narrative, opening with a piano accompaniment that imitates the gently lapping of waves on a distant seashore. The voice enters on the words ‘I am a sea shell, flung up from an ancient sea / Now I lie here among roots of a tamarisk tree / no one listens to me’. This tranquil introduction gives way to a middle section that grows gradually more chromatic, reaching a ff climax on the words ‘only your sorrows sound comes coiling to the brim’. This is followed by a reflective coda that introduces a new vocal melody that is accompanied by slow-moving chords in the piano. Here, the poem’s narrative discloses that ‘Nature’ does, indeed have the answers to all our questions but, because of humanity’s never ending hubris, denies to give them. The song is dedicated to Sally Porter Munro.
The night has a thousand eyes, And the day but one; Yet the light of the bright world dies With the dying sun.
The mind has a thousand eyes, And the heart but one; Yet the light of a whole life dies When love is gone.
Francis William Bourdillon (1852-1921)
The night has a thousand eyes was commissioned by Kenneth R Prendergast in 2012 to celebrate his 50th birthday. It is a setting of a short lyric poem by Francis William Bourdillon (1852-1921). The Poem presents a series of contrary thoughts; night and day, the many and the one, life and death, but its principal opposite is the heart versus the mind. In Bourdillon’s opinion, the heart is more important to life than the mind and in the final two lines he states that the essence of life is lost, once love is lost. In this song, I have tried to evoke an otherworldly and transcendental mood by using an insistent oscillation of major and minor triads in the accompaniment, over which the voice sings an expressive lament. The melismatic nature of the vocal line at the end of the song is intended to intensify the finality of the words, ‘when love is gone’. The song is dedicated to Kenneth R Prendergast.