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Hyperion Records

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Church Interior by Hendrik Cornelisz van Vliet (c1611-1675)
Museum voor Schone Kunsten, Ghent, Belgium / © Lukas - Art in Flanders VZW / Bridgeman Art Library, London
Track(s) taken from CDA67964
Recording details: February 2012
Mariager Klosterkirke, Denmark
Produced by Paul Spicer
Engineered by Simon Eadon
Release date: December 2012
Total duration: 4 minutes 19 seconds

'A simply splendid album. The organ … is a delight to the ears, its manifest charms precisely mapped out in detailed registrations provided in the excellent booklet … above all, of course, is Herrick's immensely enjoyable playing … all in all a delight to the ears which brings a smile to the face and a lift to the soul' (Gramophone)

'Hugely successful … Herrick's performance of the Praeludium … is packed with personality and character … the freedom with which Herrick approaches this piece and the extent to which is it possible to hear the performer's voice, as well as that of the composer, projected in this performance, cannot be described as anything other than exhilarating … Herrick's playing is characteristically excellent throughout. His performances of the free works are, without exception, rhetorically engaging and lively, while the chorale melodies sing beautifully, such is his sensitive approach to musical line … very highly recommended' (International Record Review)

'Herrick's generously-timed programme consists of an entertaining mix of items, mainly Praeludia or Chorale Preludes. Slower, ruminative pieces alternate with boisterous, dramatic works in a recital that manages to be both elegant and fulgurous, profound and sensuous. Works generally run to less than four minutes each, but short does not equate with inconsequential in Buxtehude's music: even the merest pieces speak volumes about the composer's imagination, virtuosity and originality … this set ought to be the primary destination for collectors' (MusicWeb International)

Praeludium in the Phrygian mode, BuxWV152

Introduction  EnglishFrançaisDeutsch
The modality of the Praeludium in the Phrygian mode, BuxWV152, is proclaimed by the pedals’ descent via F natural to low E in bars 8–9 of the free introduction (in which Buxtehude’s ability to create stirring harmony is splendidly displayed). A fugue begins at bar 18 (at 1'10''), the first three notes of its counter-subject underlining the modality. It runs without a break into the new, triple-time fugue beginning at bar 44 (at 2'32''); its subject is a variant of that of the first. The briefest of codas brings the work to a sober close and in recalling the textures of the opening bars gives it a satisfying symmetry.

from notes by Relf Clark © 2012

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