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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: 15 minutes 24 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)

Variations and Finale on an old Flemish song, Op 20
composer
1929; based on the tune Laet ons mit herten reyne; dedicated to Marcel Dupré

Theme: Moderato  [1'08]

Introduction  EnglishFrançaisDeutsch
Variationen und Finale über ein altflämisches Lied (Variations and Finale on an old Flemish song, 1929) was the first of Peeters’ big concert works. He loved his country’s heritage of carol and folk music, and this tune, Laet ons mit herten reyne, was one of his favourites; it had also been set many centuries earlier by John Bull. The work is in some respects a tribute to Marcel Dupré, to whom it is dedicated, and Dupré’s own Variations sur un vieux Noël, Op 20, provided an exact model for the first two variations, with a solo trumpet accompanied by a chromatic counter-melody, and a canon for two flutes accompanied by a murmuring voix céleste. But Peeters could never be a mere imitator, and this music is very much his own. His six vividly contrasted variations are more fully worked-out than Dupré’s, and this is far more than a piece of fanciful virtuoso display. The bouncing parallel fifths and dancing pedals of Variation 3 are followed by melancholy and mystery in Variation 4, and then by a scintillating stream of chromatic fourths in Variation 5. The heart of the work comes in the eloquent sixth variation, where the tune is decorated in the soprano voice in the style of a Bach chorale prelude. The Finale begins, like Dupré’s, with a fast, spiky fugue full of crafty contrapuntal devices, and then erupts into a thunderous concluding toccata.

from notes by David Gammie © 2011

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