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Track(s) taken from CDA67211/2

Pastorale in F major, BWV590


Christopher Herrick (organ)
Recording details: November 1996
Stadtkirche, Rheinfelden, Switzerland
Produced by Paul Spicer
Engineered by Paul Niederberger
Release date: June 1997
Total duration: 13 minutes 54 seconds


'Just as, in my youth, I almost preferred to lick the scrapings from the bowls in which my mother had prepared cakes than to savout the finished product, so I am tempted almost to prefer these crumbs from the table of a great genius to those stupendous musical feats which are everybody's idea of the real J S Bach. Here is music every bit as worthy of close attention as anything Bach wrote for the organ. Herrick displays immaculate taste. This is playing of the very highest order … superlative artistry' (Gramophone)

'An attractive way of gathering up some of Bach's less obvious masterpieces, and they are all splendidly played, and recorded on a fine Swiss organ' (The Penguin Guide to Compact Discs)

'Christopher Herrick possède une technique supérieure et un grand toucher. Il nous fait parcourir ces pages de jeunesse avec une fraîcheur, une bonne humeur, un lyrisme et une entrain communicatif' (Le Monde de la Musique, France)
The earliest published examples of pastoral music, characterized by drone-like basses and lilting tripletime melodies, date from 1637, in an instrumental collection by Francesco Fiamengo and a keyboard volume by Frescobaldi. The fact that only the first movement of the Pastorale, BWV590, is in this style and is also the only movement requiring pedals suggests that possibly these four pieces did not originally belong together. Nonetheless they make a very attractive suite. The melody of the third movement is one of those long-breathed tunes reminiscent of the instrumental obbligato from a cantata aria, while the final Gigue is a charmingly artless piece of three-part counterpoint.

from notes by Stephen Westrop © 1997

Die ersten veröffentlichten Pastoralwerke, die durch bordunähnliche Bässe und fröhlich-trällernde Dreiertaktmelodien gekennzeichnet sind, stammen aus dem Jahre 1637 und erschienen in einer Instrumentalmusiksammlung von Francesco Fiamengo und einer Tastenmusikausgabe von Frescobaldi. Daß ausschließlich der erste Satz der Pastorale, BWV590, diesem Stil entspricht und Pedalstimmen verlangt, ist möglicherweise ein Hinweis darauf, daß die vier Sätze ursprünglich nicht zusammengehörten. Nichtsdestoweniger bilden sie eine überaus reizvolle Suite. Die Melodie des dritten Satzes ist eine jener langatmigen Weisen, die an das instrumentale Obbligato einer Kantatenarie erinnern, wohingegen es sich bei der abschließenden Gigue um ein reizend-unschuldiges Stück mit dreistimmigem Kontrapunkt handelt.

aus dem Begleittext von Stephen Westrop © 1997
Deutsch: Manuela Hübner

Other albums featuring this work

Bach: The Complete Organ Works
CDS44121/3616CDs Boxed set (at a special price) — Deleted
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