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.

Click cover art to view larger version
Track(s) taken from CDA67734

Recessional, Op 96 No 4

composer
published in 1986

Christopher Herrick (organ)
Recording details: June 2008
Västerås Cathedral, Sweden
Produced by Paul Spicer
Engineered by Simon Eadon
Release date: May 2009
Total duration: 4 minutes 32 seconds

Cover artwork: Fireworks over Stockholm.
© Mikael Damkier, www.dreamstime.com
 
1

Reviews

'Herrick's playing and imaginative use of the organ's resources are first rate, and he's backed up by a superb recording from Hyperion' (Gramophone)

'This instrument makes a pretty spectacular noise … with plenty of incendiary reeds and pyrotechnic instruments, it provides yet another ideal organ on which Christopher Herrick can light his blue touch paper and not retire but leap onto the pyre and set off as many fireworks as he can in the space of 78 minutes … he is a fluent and fiery champion of the repertoire … Herrick manages to persuade us that it is all worth hearing. He delivers it with enthusiasm and the communicative zeal which is the hallmark of just about everything this outstanding organist ever seems to put his hands and feet to … for lovers of fine organ sound and often spine-tingly virtuoso playing … this disc most certainly is not thirteenth time unlucky' (International Record Review)
The Welsh composer William Mathias (1934–1992) occupies a prominent position in the history of British organ music in the last third of the twentieth century. A non-organist without a Church of England background, he brought to the instrument a mind untrammelled by the Anglican organ-loft and a technique honed by the experience of composing for altogether different media. Although he wrote a number of large-scale organ works (one thinks in particular of the Partita, Op 19), he is perhaps best known among organists for those works of his, mostly postludes, that Oxford University Press included in their attractive albums of voluntaries. Published in 1986, much of Recessional, Op 96 No 4, consists of pattering, quick-fire semiquavers accompanied by rhythmical chords, many of them sevenths. March-like passages with a tramping bass provide a contrast to these athletics, and from time to time there are nods in the direction of Stravinsky’s Petrushka, especially near the end, where a bitonal cascade introduces the crashing final bars.

from notes by Relf Clark © 2009

Le Gallois William Mathias (1934–1992) occupe une place importante dans la musique d’orgue britannique du dernier tiers du XXe siècle. Non-organiste, sans lien avec l’Église anglicane, il amena à l’instrument un esprit détaché de la tribune d’orgue anglicane et une technique affinée par l’expérience accumulée en composant pour des médias très différents. Il signa plusieurs œuvres organistiques d’envergure (on songe notamment à sa Partita op. 19) mais les organistes le connaissent peut-être surtout pour ses pièces—essentiellement des postludes—incluses dans les séduisants albums de voluntaries d’Oxford University Press. Publié en 1986, le Recessional op. 96 no 4 consiste, pour une large part, en un crépitement de doubles croches véloces accompagnées d’accords rythmiques (le plus souvent des septièmes). Des passages alla marcia, avec une basse au pas lourd, contrastent avec ces épisodes vigoureux émaillés de clins d’œil au Petrouchka de Stravinsky—surtout vers la fin, quand une cascade bitonale introduit les retentissantes dernières mesures.

extrait des notes rédigées par Relf Clark © 2009
Français: Hypérion

Der walisische Komponist William Mathias (1934– 1992) nimmt eine prominente Position in der Geschichte britischer Orgelmusik im letzten Drittel des 20. Jahrhunderts ein. Er ist weder ein Organist, noch hat er einen Hintergrund in der anglikanischen Kirche, brachte dem Instrument aber eine Einstellung, die nicht von der anglikanischen Orgelempore eingeschränkt wird, sowie eine Technik entgegen, die durch die Erfahrung der Komposition für ganz andere Medien geschliffen war. Obwohl er eine Anzahl großer Orgelwerke schrieb (man denke etwa an die Partita op. 19), ist er unter Organisten womöglich am besten für jene Werke bekannt, die die Oxford University Press in ihre attraktiven Alben von Orgel-Voluntaries aufnahm, besonders die Nachspiele. Das 1986 veröffentlichte Recessional op. 96 Nr. 4 besteht aus plappernden, blitzartigen Sechzehnteln, die von rhythmischen, meist Septim-Akkorden begleitet werden. Marschhafte Passagen mit einem stampfenden Bass bilden einen Kontrast zu dieser Athletik und zeitweise gibt es Winke in Richtung Strawinsky und Petruschka, besonders gegen Ende, wo eine bitonale Kaskade die schmetternden Schlusstakte einleitet.

aus dem Begleittext von Relf Clark © 2009
Deutsch: Renate Wendel

Waiting for content to load...
Waiting for content to load...
Search

There are no matching records. Please try again.