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Hyperion Records

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Fireworks over Stockholm.
© Mikael Damkier, www.dreamstime.com
Track(s) taken from CDA67734
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

'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)

Recessional, Op 96 No 4
composer
published in 1986

Introduction  EnglishFrançaisDeutsch
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

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