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Track(s) taken from CDA67876

Toccata in F major, BuxWV156

composer

Christopher Herrick (organ)
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: 8 minutes 19 seconds

Cover artwork: Interior of a Gothic Church (1787) by Johann Ludwig Ernst Morgenstern (1738-1819)
Schlossmuseum, Scholl Friedenstein, Gotha, Germany / Bridgeman Art Library, London
 

Reviews

'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)
The wonderfully flamboyant Toccata in F major, BuxWV156, begins with extemporary writing over a sustained low F, and there follows a compound-time section over the pedals’ lowest C. The first fugue has a subject easily recognized by its opening rhythmic pattern of three semiquavers followed by a crotchet. Improvisatory material leads to a short-lived second fugue, and, in the further improvisatory passages which follow, Buxtehude—here surely at his most phantasticus—leads one through a labyrinth of remarkable textures.

from notes by Relf Clark © 2011

Merveilleusement flamboyante, la Toccata en fa majeur BuxWV156 commence par une écriture improvisée sur un fa grave tenu; s’ensuit une section en mesure composée, sur le do le plus grave du pédalier. La première fugue est aisément reconnaissable à son modèle rythmique initial de trois doubles croches suivies d’une noire. Un matériau à l’improvisade mène à une courte seconde fugue et, dans les passages improvisés suivants, Buxtehude—sûrement, ici, sous son jour le plus phantasticus—nous entraîne dans un labyrinthe de textures remarquables.

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

Die wunderbar aufwändige Toccata in F-Dur, BuxWV156, beginnt mit einem extemporierten Abschnitt über einem ausgehaltenen tiefen F und es folgt eine Passage in zusammengesetzter Taktart über dem tiefsten C der Pedale. Die erste Fuge hat ein Thema, das anhand seines Rhythmus’ zu Beginn (drei Sechzehntel gefolgt von einer Viertel) leicht zu erkennen ist. Ein improvisatorischer Teil leitet zu einer kurzlebigen zweiten Fuge hinüber und in den weiteren, folgenden improvisatorischen Passagen führt Buxtehude—der sich hier sicherlich in besonderem Maße des stylus phantasticus bedient—den Zuhörer durch ein Labyrinth von bemerkenswerten Texturen.

aus dem Begleittext von Relf Clark © 2011
Deutsch: Viola Scheffel

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