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.

Senex puerum portabat

1607; Gradualia II
author of text
Antiphon at First Vespers on the Purification of the Blessed Virgin Mary

William Byrd (1539/40–1623) learned his art from Thomas Tallis and became one of the most successful of the Tudor composers. He worked as Organist and Master of the Choristers at Lincoln Cathedral between 1563 and 1570 before moving to London to become a Gentleman of the Chapel Royal following the accidental death of Robert Parsons. At the Chapel he worked jointly with Tallis. In 1575 Tallis and Byrd secured a royal patent for the printing and distribution of part-music.

The four-part Latin anthem Senex puerum portabat is found in the second book of Gradualia dating from 1607. Some years ago it became unfashionable to speak of the music of the Tudor composers—or composers of any so-called ‘early’ period—in terms of ‘word painting’, that is to say that a composer depicts the text being set in an expressive way. It has even been suggested that ‘early’ composers were not able to express themselves in music in any meaningful way at all—a notion reinforced by Stravinsky. This idea must be laid to rest at the earliest opportunity. True, composers of earlier periods did not express themselves in the overt way that composers of nineteenth century did, but there is a subtlety of expression in Byrd’s music which even the most hard-headed academics would acknowledge. In his anthem Senex puerum portabat it can be no surprise to the listener that the word ‘portabat’ is set with a rising interval in which the melodic line is held high before moving on towards the cadence. Further evidence of such an expressive approach is to be found at the delicate vocal lines at the word ‘adoravit’—truly a composer depicting an adoring mother enjoying her new-born child, the long-awaited Messiah.

from notes by William McVicker © 2002


Byrd: Gradualia - The Marian Masses
CDH55047Archive Service
Epiphany at St Paul's


Track 6 on CDH55047 [1'42] Archive Service
Track 15 on CDH55443 [2'23]

Track-specific metadata

Click track numbers above to select
Waiting for content to load...
Waiting for content to load...