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Track(s) taken from CDA67855

Herr Jesu Christ, ich weiss gar wohl, BuxWV193

composer
chorale prelude

Christopher Herrick (organ)
Recording details: April 2010
St-Louis-en-l'Île, Paris, France
Produced by Paul Spicer
Engineered by Simon Eadon & Will Brown
Release date: March 2011
Total duration: 2 minutes 27 seconds

Cover artwork: A Church Interior by Anthonie de Lorme (1610-1673)
Johnny van Haeften Gallery, London / Bridgeman Art Library, London
 
1

Reviews

'The Praeludium in F sharp minor brings the disc to an arresting conclusion. The performance is exhilarating and Herrick judges the pacing to perfect dramatic ends while also having the opportunity to show off his brilliantly agile pedal technique … this recording, along with its two predecessors in the series, is a first-rate addition to the catalogue. On this evidence, Herrick's next release should be eagerly awaited' (International Record Review)
The Chorale Prelude on ‘Herr Jesu Christ, ich weiss gar wohl’, BuxWV193 is remarkable for the way in which Buxtehude treats the melody: as usual, he gives it to the uppermost voice, but initially he leaves it unembellished. Over the course of the work, however, it becomes increasingly ornamented, and as it does so the lower voices gradually lose their initial liveliness and revert to their customary role of providing restrained support.

from notes by Relf Clark © 2011

Le Prélude-choral sur «Herr Jesu Christ, ich weiss gar wohl» BuxWV193 affiche un remarquable traitement de la mélodie: pour ne pas changer, Buxtehude la confie à la voix supérieure, non sans la laisser d’abord dépouillée. Au fil de l’œuvre, toutefois, elle s’orne de plus en plus pendant que les voix inférieures perdent peu à peu leur allégresse première pour retrouver le rôle de soutien tout en retenue qui est habituellement le leur.

extrait des notes rédigées par Relf Clark © 2011
Français: Hypérion

Das Choralpräludium über „Herr Jesu Christ, ich weiss gar wohl“, BuxWV193 ist bemerkenswert aufgrund der Behandlung der Melodie, die wie üblich in der obersten Stimme, jedoch anfänglich unverziert erscheint, um im weiteren Verlauf zunehmend stärker verziert zu werden, wobei die tieferen Stimmen allmählich ihre anfängliche Lebhaftigkeit einbüßen und zu ihrer angestammten Rolle verhaltener Unterstützung zurückkehren.

aus dem Begleittext von Relf Clark © 2011
Deutsch: Henning Weber

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