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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With Missa Christ ist erstanden & other works by Jacob Regnart, Cinquecento returns to the music of this distinguished composer and employee of the Imperial Habsburg courts of Prague and Innsbruck. Regnart was praised by Lassus, a near contemporary, as 'trefflich' ('splendid'), and it's a judgement that listeners to this new album will share.
An occasional series dedicated to choice selections of our all-time favourite recordings—ones you might possibly have missed? This time: Choral music by Vierne, Widor & Dupré from Westminster Cathedral Choir (‘my obeisance goes to all artists involved with this outstanding production’—Soundscapes, Australia), Charpentier's Leçons de ténèbres, Litanies & Magnificat from Arcangelo (‘beautiful sounds, wonderfully recorded as well’—BBC Record Review), and The Complete Piano Concertos of Malcolm Williamson from Piers Lane and the Tasmanian Symphony Orchestra (‘an absorbing and highly entertaining experience’—International Piano). If you don’t know them already, a track from each is included on our monthly sampler which is free to download.
New from 1equalmusic this month comes Burden of Truth which features two ambitious re-imaginings of older works: Gavin Bryars revisits his 1970s cult hit Jesus' blood never failed me yet, while Antony Pitts takes a single folio from the early Tudor Eton Choirbook as the starting point for his Jesus autem transiens. The Song Company—greatly expanded (these unaccompanied works are in 32 and 25 parts respectively)—rises admirably to the challenges posed.
Recorded live in 2016, The Mozartists and conductor Ian Page present a rare performance of Il Vologeso by Niccolò Jommelli. Every bit as outlandish as the extravagant Württemberg opera house where it was first performed, the plot concerns itself with the machinations of a second-century Roman emperor, the music is startlingly forward-looking for the 1760s, and the vibrant cast assembled for this Signum album revels in it all.