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Hyperion Records

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Track(s) taken from CDA67228
Recording details: November 2000
Berner Münster, Switzerland
Produced by Paul Spicer
Engineered by Paul Niederberger
Release date: August 2001
Total duration: 5 minutes 10 seconds

'Another feast of organ music played on a fine instrument. Herrick’s playing … can only be described as unfailingly brilliant … Hyperion has found … the key to the continued success of this hugely enjoyable and, at times, downright spectacular series of Organ Fireworks. Herrick is a musician with a powerful urge to communicate. And communicate he does, drawing on his enormous technical and intellectual resources to turn out performances which sometimes amaze, often astound but never fail to stimulate' (Gramophone)

'A definite recommendation for this latest Fireworks CD is in order' (International Record Review)

Bohemesque
composer
1916

Bohemesque  [5'10]

Introduction  EnglishFrançaisDeutsch
As only the second blind musician after John Stanley to take the B.Mus degree at Oxford, William Wolstenholme had no less a person than Edward Elgar as his amanuensis. They had met when Elgar taught him the violin at the Worcester College for the Blind Sons of Gentlemen. In October 1887 he received a desperate summons from Wolstenholme in Oxford, who found himself unable to get on with the official assistant assigned to him. (The senior musician did not endear himself to the examiner, Sir Frederick Bridge, when he pointed out a mistake in the examination paper.) Wolstenholme enjoyed a warm friendship with another noted blind organist, Alfred Hollins, and the two often tried out their new works on each other and performed the other’s music in concert. When in January 1916 Hollins was travelling to South Africa for the opening of the organ in Johannesburg Town Hall he asked his friend for a new piece. The present Bohemesque was the result. It is a scherzo with two trios and shows that the composer was clearly well acquainted with the dance-band music of his day. When Wolstenholme told Hollins that it was going to have a time signature of 15/8 (five compound beats to the bar) the dedicatee was somewhat taken aback. As he later wrote: ‘At first I thought he must be joking about the 15/8 time, but there it was in black and white, or rather, in Braille dots, as clear as day’.

from notes by Stephen Westrop © 2001

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