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Hyperion Records

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Angels in the Night (1896) by William Degouve de Nuncques (1867-1935)
Rijksmuseum Kröller-Müller, Otterlo, Netherlands / Lauros / Giraudon / Bridgeman Art Library, London
Track(s) taken from CDA67825
Recording details: October 2009
Tonbridge School Chapel, Kent, United Kingdom
Produced by Mark Brown
Engineered by Simon Eadon
Release date: January 2011
Total duration: 7 minutes 1 seconds

'This welcome release should do much to restore Peeters's reputation as one of the most craftsmanlike and consistently satisfying organist-composers of the past century … the Tonbridge Marcussen [is] ideally suited to Peeters's clear contrapuntal voice-leading. Beautifully recorded, with excellent notes by David Gammie' (Gramophone)

'One mentions the varied nature of the music on this disc because it is so interesting and worthwhile and is so relatively infrequently heard these days, but the main plaudits should go to Trinkwon, whose playing throughout, particularly his tempos, phrasing and registrations, are of the highest class … all in all this CD constitutes another most valuble and welcome issue from Hyperion—so much so that one hopes it will lead to others' (International Record Review)

Concert Piece, Op 52a
composer
1955; the composer's own abbreviated arrangement for organ solo of the finale of his 1944 Organ Concerto

Introduction  EnglishFrançaisDeutsch
Peeters’ largest orchestral work was a forty-minute Organ Concerto; composed during the dark final weeks of 1944 during the bloody Ardennes Offensive (the Battle of the Bulge), it was premiered on Belgian Radio after the Liberation the following year. In 1955 he published an abbreviated arrangement for organ solo of the concerto’s finale, under the title Concert Piece. It begins with the concerto’s spectacular solo cadenza and ends with the brilliant closing pages, with a quieter interlude in the middle, incorporating some of the more lyrical elements from the longer orchestral version. In the 1930s Peeters had composed a Flemish Rhapsody; he described it as ‘a fresco of the Flemish character: energetic rhythm, decorative form, vigorous substance, colourful registration, strong nature’, and this description could equally well be applied to the concerto.

from notes by David Gammie © 2011

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