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Track(s) taken from CDA67876

Nun lob, mein Seel, den Herren, BuxWV214

composer
chorale prelude

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: 2 minutes 41 seconds

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

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)
In the Chorale Prelude on ‘Nun lob, mein Seel, den Herren’, BuxWV214, Buxtehude completely abandons his usual ‘melody and accompaniment’ formula. Instead, he makes the unembellished melody the uppermost of his four equal voices, and each of its lines is anticipated by an entry in the pedals (the Chorale Preludes of J S Bach are foreshadowed by the way in which the final soprano note is sustained).

from notes by Relf Clark © 2011

Dans le Prélude-choral sur «Nun lob, mein Seel, den Herren» BuxWV214, Buxtehude abandonne totalement son habituelle formule «mélodie et accompagnement» pour faire de la mélodie non ornée la première de ses quatre voix égales; chacune de ses lignes est anticipée par une entrée au pédalier (la manière dont la note de soprano finale est tenue préfigure les préludes-chorals de J. S. Bach).

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

In dem Choralvorspiel „Nun lob, mein Seel, den Herren“, BuxWV214, verzichtet Buxtehude auf seine Formel „Melodie und Begleitung“ völlig. Stattdessen legt er die unverzierte Melodie in die höchste seiner vier gleichen Stimmen und antizipiert alle Melodielinien jeweils mit einem Pedaleinsatz (die Art und Weise, mit der der letzte Sopran-Ton ausgehalten wird, nimmt die Choralvorspiele von J.S. Bach vorweg).

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

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