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Track(s) taken from CDA67734

Toccata and Fugue in D minor, Op 98

1923; dedicated to William Faulkes

Christopher Herrick (organ)
Recording details: June 2008
Västerås Cathedral, Sweden
Produced by Paul Spicer
Engineered by Simon Eadon
Release date: May 2009
Total duration: 8 minutes 2 seconds

Cover artwork: Fireworks over Stockholm.
© Mikael Damkier, www.dreamstime.com


'Herrick's playing and imaginative use of the organ's resources are first rate, and he's backed up by a superb recording from Hyperion' (Gramophone)

'This instrument makes a pretty spectacular noise … with plenty of incendiary reeds and pyrotechnic instruments, it provides yet another ideal organ on which Christopher Herrick can light his blue touch paper and not retire but leap onto the pyre and set off as many fireworks as he can in the space of 78 minutes … he is a fluent and fiery champion of the repertoire … Herrick manages to persuade us that it is all worth hearing. He delivers it with enthusiasm and the communicative zeal which is the hallmark of just about everything this outstanding organist ever seems to put his hands and feet to … for lovers of fine organ sound and often spine-tingly virtuoso playing … this disc most certainly is not thirteenth time unlucky' (International Record Review)
Edwin Lemare (1866–1934) was one of the outstanding recitalists of his day. After holding various London posts, he emigrated to America, where he is said to have commanded fees previous organists had only dreamt of. His many organ arrangements of orchestral scores are Lemare’s most enduring legacy (one thinks of his Wagner transcriptions and in particular that of the prelude to Die Meistersinger von Nürnberg, which Christopher Herrick included in Organ Fireworks VI) but he wrote a considerable number of original compositions, the best-known of which is undoubtedly his D flat major Andantino, which has come to be known as ‘Moonlight and Roses’. The Toccata and Fugue in D minor, Op 98, which is dedicated to William Faulkes and dates from 1923, shows Lemare in an altogether different mode. The brilliant first movement focuses obsessively on the material heard in its first few bars. The second begins with an exposition of almost textbook regularity. Derived from the Toccata, its lively second subject is the basis of a counter-exposition leading to a climax at which both subjects are thrillingly combined. A pedal cadenza precedes a coda which recalls the Toccata, and with a nod in the direction of J S Bach’s Toccata and Fugue in D minor, BWV565, Lemare ends on a minor chord.

from notes by Relf Clark © 2009

Edwin Lemare (1866–1934) fut l’un des plus remarquables récitalistes de son temps. Après avoir occupé divers postes londoniens, il émigra en Amérique où il obtint, dit-on, des émoluments dont ses prédécesseurs n’avaient fait que rêver. Ses nombreux arrangements organistiques de partitions orchestrales constituent son héritage le plus durable (on songe à ses transcriptions wagnériennes, notamment à celle du Prélude de Die Meistersinger von Nürnberg, proposée par Christopher Herrick sur son disque Organ Fireworks VI), mais il signa d’innombrables compositions originales, la plus célèbre étant indubitablement son Andantino en ré bémol majeur, qu’on connaîtra sous le nom de «Moonlight and Roses». Sa Toccata et Fugue en ré mineur op. 98, dédiée à William Faulkes et datant de 1923, nous le montre dans un tout autre climat. Le brillant premier mouvement se focalise jusqu’à l’obsession sur le matériel entendu dans ses premières mesures. Le suivant s’ouvre sur une exposition d’une régularité presque académique. Dérivé de la Toccata, son enjoué second sujet est à la base d’une contre-exposition débouchant sur un apogée lors duquel les deux sujets se mêlent en une palpitante combinaison. Une cadenza pedaliter précède une coda qui rappelle la Toccata et, dans un clin d’œil à la Toccata et Fugue en ré mineur BWV565 de J. S. Bach, Lemare conclut sur un accord mineur.

extrait des notes rédigées par Relf Clark © 2009
Français: Hypérion

Edwin Lemare (1866–1934) war einer der hervorragendsten Orgelsolisten seiner Zeit. Nachdem er verschiedene Stellen in London inne hatte, emigrierte er nach Amerika, wo er angeblich Gagen beanspruchen konnte, von denen frühere Organisten nur hatten träumen können. Seine vielen Orgelbearbeitungen von Orchesterwerken sind Lemares andauerndstes Erbe (man denke etwa an seine Wagner-Transkriptionen, besonders die des Vorspiels zu den Meistersingern von Nürnberg, das Christopher Herrick in Orgelfeuerwerk VI aufnahm), aber er schrieb auch eine beachtliche Anzahl von Originalkompositionen, von denen sein als „Moonlight and Roses“ bekanntes Des-Dur-Andantino zweifellos am besten bekannt ist. Die Toccata und Fuge in d-Moll, op. 98, die William Faulkes gewidmet ist und von 1923 datiert, zeigt Lemare mit einer ganz anderen Einstellung. Der brillante erste Satz konzentriert sich besessen auf das Material, das in seinen ersten paar Takten zu hören ist. Der zweite beginnt mit einer nahezu textbuchgemäß regulären Exposition. Sein lebhaftes zweites Thema bildet das Fundament einer Gegenexposition, die zu einer Steigerung führt, in der beide Themen mitreißend vereint werden. Eine Pedalkadenz geht einer Coda voraus, die an die Toccata erinnert, und mit einem Wink in Richtung J. S. Bachs Toccata und Fuge in d-Moll, BWV565, schließt Lemare auf einem Mollakkord.

aus dem Begleittext von Relf Clark © 2009
Deutsch: Renate Wendel

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