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Track(s) taken from CDA67666

Toccata in F major, BuxWV157

composer

Christopher Herrick (organ)
Recording details: April 2007
Helsingør Cathedral, Denmark
Produced by Paul Spicer
Engineered by Simon Eadon
Release date: May 2008
Total duration: 4 minutes 47 seconds

Cover artwork: Procession in a Cathedral by Bartolomeus van Bassen (c1590-1652)
Leeds Museums and Art Galleries (Temple Newsam House), UK / Bridgeman Art Library, London
 
1

Reviews

'A magnificent sound … Herrick's razor-sharp articulation is at one with Buxtehude's fastidiously chiselled counterpoint … an auspicious beginning' (BBC Music Magazine)

'Herrick displays great energy and a keen ear for registrational variety' (American Record Guide)

'Herrick embarks on another epic for Hyperion, and the first instalment whets the appetite. Buxtehude's delicate contrapuntal intricacy is offset by occasional flamboyance … the organ of Helsingør Cathedral, on Buxtehude's home ground of Denmark, offers an excellent colour' (Classical Music)
In the Toccata in F major, BuxWV157 Buxtehude comes close to the two-movement plan one associates with J S Bach. The first thirty-eight bars comprise the toccata, a magnificent affair of scale passages, repeated chords, and harmony of immense grandeur. At bar 39 there begins a four-voice fugue whose subject makes a feature of repetition (compare BuxWV139). There is a second exposition, in which the voices enter in a different order, and a third, in which there appears a new counter-subject made up of brilliant semiquavers. The coda is dominated by the first counter-subject.

from notes by Relf Clark © 2008

Dans la Toccata en fa majeur, BuxWV157, Buxtehude s’approche du plan en deux mouvements traditionnellement associé à J. S. Bach. Les trente-huit premières mesures forment la Toccata, moment splendide où se mêlent passages en gammes, accords répétés et harmonie grandiose à souhait. Puis la mesure 39 marque le début d’une fugue à quatre voix dont le sujet met en valeur la répétition (comparez avec BuxWV139). Viennent ensuite une deuxième exposition, qui fait entrer les voix dans un ordre différent, et une troisième, où apparaît un nouveau contre-sujet, constitué de doubles croches. La coda est dominée par le premier contre-sujet.

extrait des notes rédigées par Relf Clark © 2008
Français: Hypérion

In der Toccata in F-Dur, BuxWV157 kommt Buxtehude der mit J. S. Bach assoziierten zweisätzigen Anlage nahe. Die ersten 38 Takte enthalten die Toccata, eine herrliches Konstrukt von Skalenpassagen, Akkordrepetitionen und Harmonik von immenser Erhabenheit. In Takt 39 beginnt eine vierstimmige Fuge, deren Thema sich durch Repetitionen auszeichnet (man vergleiche BuxWV139) Es folgt eine zweite Exposition, in der die Stimmen in einer anderen Reihenfolge einsetzen und eine dritte, in der ein neues Gegenthema erscheint, das sich aus brillanten Sechzehnteln zusammensetzt. Die Coda wird vom ersten Kontrapunkt dominiert.

aus dem Begleittext von Relf Clark © 2008
Deutsch: Renate Wendel

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