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Track(s) taken from CDA67211/2

Gigue Fugue in G major, BWV577

composer

Christopher Herrick (organ)
Recording details: November 1996
Stadtkirche, Rheinfelden, Switzerland
Produced by Paul Spicer
Engineered by Paul Niederberger
Release date: June 1997
Total duration: 3 minutes 25 seconds
 

Reviews

'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 ‘Little’ Fugue in G minor, BWV578, has four entries of the subject during the exposition but, except for two brief passages which amount to no more than eight bars over the entire course of the piece, it is exclusively in a three-part texture. Indeed, the independence required for the three parts looks forward at times to the Trio Sonatas. There is a middle set of entries in the relative major and much newly-invented episodic material. The piece ends, in the manner of the ‘Great’ G minor Fugue, BWV542, with a statement of the subject in the pedals. Leopold Stokowski thought highly enough of this fugue to orchestrate it in order to bring it to a wider public.

from notes by Stephen Westrop © 1997

Die ‘Kleine’ Fuge in g-Moll, BWV578, zählt im Verlauf ihrer Durchführung insgesamt vier Einsätze des Themas, doch mit Ausnahme zweier kurzer Passagen, die sich im gesamten Stück auf nicht mehr als acht Takte belaufen, handelt es sich hier um eine ausschließlich dreistimmige Struktur. In der Tat greift die von den drei Stimmen geforderte Unabhängigkeit gelegentlich den Triosonaten vor. Der Mittelteil weist eine Reihe von Einsätzen in der verwandten Dur-Tonart sowie viel neues episodisches Material auf, und der Schluß des Stückes gestaltet sich gemäß der ‘großen g Moll-Fuge’, BWV542, mit einem Eintritt des Themas in den Pedaltönen. Stokowski bewunderte diese Fuge so sehr, daß er sie orchestrierte, um sie einem breiteren Publikum zugänglich zu machen.

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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