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Track(s) taken from CDA67964

Ich dank dir, lieber Herre, BuxWV194

composer
Chorale Fantasia

Christopher Herrick (organ)
Studio Master FLAC & ALAC downloads available
CD-Quality:
Studio Master:
CD-Quality:
Studio Master:
Recording details: February 2012
Mariager Klosterkirke, Denmark
Produced by Paul Spicer
Engineered by Simon Eadon
Release date: December 2012
Total duration: 4 minutes 16 seconds

Cover artwork: Church Interior by Hendrik Cornelisz van Vliet (c1611-1675)
Museum voor Schone Kunsten, Ghent, Belgium / © Lukas - Art in Flanders VZW / Bridgeman Art Library, London
 
1

Reviews

'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)
The Chorale Fantasia on ‘Ich dank dir, lieber Herre’, BuxWV194, shows Buxtehude’s style at its most phantasticus. Unusually, the first line of the melody is heard right at the outset, fully harmonized. The subsequent lines are not stated, but bars 3 to 35, and the ostinato-like passage beginning at bar 54 (at 2'09'', heard most clearly in the pedal part), take the first few notes of the second line as their cue; and at bar 73 (2'46''), where the time signature changes from 4/4 to 6/4, a dance-like, more extensive ostinato begins: its material, like that of the stately coda (bar 96, from 3'47''), appears to be independent of the chorale melody, as if the composer had abandoned the chorale fantasia and embarked on a praeludium.

from notes by Relf Clark © 2012

La Fantaisie-choral sur «Ich dank dir, lieber Herre», BuxWV194, montre le style buxtehudien dans ce qu’il a de plus phantasticus. Chose rare, la première ligne mélodique est exposée d’emblée, pleinement harmonisée. Les lignes suivantes ne sont pas exposées, mais les mesures 3 à 35 et le passage en ostinato démarrant à la mesure 54 (à 2'09''; c’est à la partie de pédalier qu’on l’entend le mieux) partent des premières notes de la deuxième ligne; à la mesure 73 (2'46''), le signe de la mesure passe de 4/4 à 6/4 et un ostinato façon danse, plus étendu, commence: son matériau, comme celui de la majestueuse coda (mesure 96, à partir de 3'47''), semble indépendant de la mélodie du choral, comme si le compositeur avait abandonné la fantaisie-choral pour se lancer dans un praeludium.

extrait des notes rédigées par Relf Clark © 2012
Français: Hypérion

Im Choralfantasie über „Ich dank dir, lieber Herre“, BuxWV194, steht Buxtehudes Stil sich als besonders phantasticus zeigt. Ungewöhnlicherweise erklingt die erste Melodielinie gleich zu Anfang und dazu vollständig harmonisch ausgesetzt. Die darauffolgenden Linien werden nicht aufgeführt, doch in Takt 3 bis 35 und in der ostinato-artigen Passage, die in Takt 54 beginnt (bei 2'09'', am deutlichsten hörbar in der Pedalstimme), werden die ersten Töne der zweiten Linie als Einsatzzeichen gegeben. In Takt 73 (2'46''), wo die Taktbezeichnung von 4/4 zu 6/4 wechselt, beginnt ein tänzerischeres und ausgedehnteres Ostinato—das Material scheint, ebenso wie das der prächtigen Coda (Takt 96, ab 3'47''), von der Choralmelodie unabhängig zu sein, als ob der Komponist sich von der Choralfantasie abgewendet hätte, um sich stattdessen einem Präludium zu widmen.

aus dem Begleittext von Relf Clark © 2012
Deutsch: Viola Scheffel

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