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.
The Sanctus de Passione (13.9) is described as ‘unpretentious’ by Elders but is generally considered authentic, not least because the central section, ‘Honor et benedictio’, is also found as part of Josquin’s motet Qui velatus facie fuisti, published by Petrucci two years previously (in Motetti B: RISM 1503 1). In the context of the Sanctus, this twenty-eight-bar chordal interpolation between Sanctus and Benedictus is to be understood as an Elevation motet: the scholarly consensus is that either it or the Benedictus would have been performed liturgically, but not both. For the purposes of a recording, however, it makes sense to sing all the music printed in Fragmenta missarum: liturgical purists are of course at liberty to skip one or other of the two tracks. The ‘Pleni’ and ‘Benedictus’ duet verses are identical except for octave transposition.
from notes by Stephen Rice © 2021