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Hyperion Records

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Interior of a Gothic Church (1787) by Johann Ludwig Ernst Morgenstern (1738-1819)
Schlossmuseum, Scholl Friedenstein, Gotha, Germany / Bridgeman Art Library, London
Track(s) taken from CDA67876
Recording details: January 2011
Trinity College Chapel, Cambridge, United Kingdom
Produced by Paul Spicer & Simon Eadon
Engineered by Dave Rowell & Simon Eadon
Release date: September 2011
Total duration: 4 minutes 35 seconds

'Christopher Herrick's performances in this series have breathed musical life into the rich repertoire of organ music by Buxtehude and this release is no exception. The expressive and thoughtful interpretations of the repertoire presented on this disc make it a worthwhile addition to any collection' (International Record Review)

'Christopher Herrick clocks up another memorable recording. His terrifically nimble-fingered and fleet-footed playing betrays no sign of someone soon to be entering his eighth decade! There is surely nothing to be said against another complete set of Buxtehude's organ works when the music is this good or performed this well. The technical sound quality and chapel acoustics are very good, and the Trinity College organ —Metzler-built, like those in Herrick's celebrated complete Bach organ cycle, and dating back only as far as 1976, though incorporating seven ranks from Trinity predecessors from 1694 and 1708—sounds superb. Not particularly authentic but Buxtehude himself would almost certainly have enjoyed its breadth and power. As usual with Hyperion, the trilingual CD booklet gives excellent information on the music, track by track, not to mention a full description of the organ, including registrations for each of the pieces' (MusicWeb International)

Praeambulum in A minor, BuxWV158
composer

Introduction  EnglishFrançaisDeutsch
The Praeambulum in A minor, BuxWV158, begins with an improvisatory paragraph in which the music unfolds over long-held pedal notes. Based on a steady, four-crotchet subject, the first fugue becomes increasingly animated. It comes to rest with a Phrygian cadence (at about 3'02''), and without interpolating any free material Buxtehude immediately embarks on a short second fugue, its subject comprising two groups of six quavers. The brief coda recalls the work’s opening bars.

from notes by Relf Clark © 2011

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