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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: 14 minutes 26 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)

Suite modale, Op 43

Koraal  [2'44]
Scherzo  [3'38]
Adagio  [3'54]
Toccata  [4'10]

Introduction  EnglishFrançaisDeutsch
In his Suite modale of 1938 Peeters’ intention was to write an uncomplicated, tuneful work along the lines of Boëllmann’s popular Suite gothique, but in ‘a more contemporary, modal language’. The influence of the earlier work is only really evident in the majestic opening movement, which follows a similar design to Boëllmann’s Chorale, with a piano repeat of each phrase. The effervescent Scherzo is one of Peeters’ happiest inspirations. One of the hallmarks of his melodic style is the interval of a descending seventh, and this first appears during the bouncy second tune of the Scherzo. It re-appears, with very different effect, in the intense central section of the Adagio, and returns again in the pedal theme of the final Toccata. This is an exciting display piece in the French style with swirling toccata figuration above a big tune in the bass. The central section of the piece develops a new, more lyrical melody, derived from the initial motif of the main theme, with some canonic writing reminiscent of composers like Franck and Vierne.

from notes by David Gammie © 2011

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