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Track(s) taken from CDD22062

Prelude and Fugue in D major, BWV532

composer

Christopher Herrick (organ)
Recording details: April 1993
Jesuitenkirche, Lucerne, Switzerland
Produced by Paul Spicer
Engineered by Paul Niederberger
Release date: October 1993
Total duration: 11 minutes 5 seconds
 
1
Prelude  [4'54]
2
Fugue  [6'11]

Reviews

'Herrick's musical inspiration, matched by his technique, does full justice to this pinnacle of the organ repertoire' (BBC Music Magazine Top 1000 CDs Guide)

'Yet another yardstick release from what seems to be an unbeatable team … I suspect I have already found my record of the year' (Gramophone)

'These incisive, illuminating performances … they continue to offer compulsory interpretation for anyone's library. Herrick approaches Bach with an interrogative direction that compels the imagination. In the warm, well-shaped acoustic of Lucerne's Jesuitenkirche he finds drama and strength of purpose, vibrancy and colour on a fine modern Metzler organ, and displays an impressively articulate, varied and telling range of gestures. Dip in at any point and you'll find something to please and provoke … the impeccable recorded sound is icing on the cake' (Choir & Organ)

'As emotionally compelling as it is authoritative. The instrument is ideal for the repertoire and it is superbly recorded' (The Penguin Guide to Compact Discs)

'This is in every way a Bach recital out of the top drawer, played with magisterial authority on a magnificent organ' (Classic FM Magazine)
Dating from 1709 or earlier, the D major Prelude and Fugue, BWV532 shares, with a number of other early (or early versions of) preludes and fugues, an inter-connecting adagio between the two. Here the structure is taken a stage further, with a free toccata (to announce the key) introducing a brisk patterned, rather Italian movement, before a markedly powerful sequence of harmony, with double pedal, to close. The Spielfuge, borrowing elements from Buxtehude, is chiefly remarkable for its unflagging energy and supremely virtuoso pedal part; surely it was this piece which inspired the contemporary comment that Bach’s feet flew across the pedals as birds on the wing.

from notes by Robin Langley © 1993

Datant de 1709 ou même avant, le Prélude et Fugue en ré majeur, BWV532 a en commun avec un certain nombre d’autres parmi les premiers préludes et fugues (ou les premières versions) un adagio reliant les deux parties. Ici le développement de la structure va plus loin avec une toccata libre (pour annoncer le ton) qui introduit un mouvement vif et orné, plutôt italien, avant de se terminer par une très puissante séquence d’harmonie, avec double pédale. L’énergie infatigable et sa partie de pédale suprêmement virtuose sont les deux caractéristiques remarquables de la Spielfuge, qui emprunte encore des éléments à Buxtehude; c’est sans aucun doute ce morceau qui a inspiré le commentaire contemporain que les pieds de Bach volaient sur les pédales comme des oiseaux en plein essor.

extrait des notes rédigées par Robin Langley © 1993
Français: Alain Midoux

D-Dur, BWV532, 1709 oder früher entstanden, hat es mit anderen frühen Präludien und Fugen (bzw. deren frühen Versionen) ein Adagio gemeinsam, das die beiden Teile verbindet. Hier geht es mit diesem Aufbau insofern einen Schritt weiter, als eine freie Tokkata (zur Einführung der Tonart) einen lebhaft gefügten, italienisch anmutenden Satz einleitet, ehe zum Abschluß eine betont eindrucksvolle harmonische Sequenz mit doppeltem Pedal erklingt. Die Spielfuge, die wiederum Stilelemente von Buxtehude aufgreift, ist insbesondere wegen ihrer nicht nachlassenden Energie und ihres überaus virtuosen Pedalparts bemerkenswert; gewiß war es dieses Stück, das zu dem zeitgenössischen Kommentar angeregt hat, Bachs Füße seien über die Pedale geeilt wie Vögel im Flug.

aus dem Begleittext von Robin Langley © 1993
Deutsch: Anne Steeb/Bernd Müller

Other albums featuring this work

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