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Track(s) taken from CDA67666

Ich dank dir schon durch deinen Sohn, BuxWV195

chorale fantasia

Christopher Herrick (organ)
Recording details: April 2007
Helsingør Cathedral, Denmark
Produced by Paul Spicer
Engineered by Simon Eadon
Release date: May 2008
Total duration: 4 minutes 57 seconds

Cover artwork: Procession in a Cathedral by Bartolomeus van Bassen (c1590-1652)
Leeds Museums and Art Galleries (Temple Newsam House), UK / Bridgeman Art Library, London


'A magnificent sound … Herrick's razor-sharp articulation is at one with Buxtehude's fastidiously chiselled counterpoint … an auspicious beginning' (BBC Music Magazine)

'Herrick displays great energy and a keen ear for registrational variety' (American Record Guide)

'Herrick embarks on another epic for Hyperion, and the first instalment whets the appetite. Buxtehude's delicate contrapuntal intricacy is offset by occasional flamboyance … the organ of Helsingør Cathedral, on Buxtehude's home ground of Denmark, offers an excellent colour' (Classical Music)
The Chorale Fantasia on ‘Ich dank dir schon durch deinen Sohn’, BuxWV195 is fundamentally different from that on ‘Nun freut euch, lieben Christen gmein’, its richly contrapuntal four-voice texture having origins in the vocal music of the sixteenth and seventeenth centuries. The four sections correspond with the four lines of the tune, each giving the relevant line a motet-like treatment.

from notes by Relf Clark © 2008

La Fantaisie de choral sur «Ich dank dir schon durch deinen Sohn», BuxWV195 est fondamentalement différente de BuxWV210 («Nun freut euch, lieben Christen gmein»), sa texture à quatre voix généreusement contrapuntique trouvant son origine dans la musique vocale des XVIe et XVIIe siècles. À chacune des quatre lignes de la mélodie correspond une section fournissant un traitement de type motet.

extrait des notes rédigées par Relf Clark © 2008
Français: Hypérion

Die Choralfantasie über „Ich dank dir schon durch deinen Sohn“, BuxWV195 ist grundlegend anders als die „Nun freut euch, lieben Christen gmein“; ihr üppig kontrapunktischer vierstimmiger Satz hat seinen Ursprung in der Vokalmusik des 16. und 17. Jahrhunderts. Die vier Abschnitte korrespondieren mit den vier Zeilen der Melodie und geben jeder Zeile eine entsprechend motettenhafte Bearbeitung.

aus dem Begleittext von Relf Clark © 2008
Deutsch: Renate Wendel

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