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Track(s) taken from CDA67809

Canzona in C major, BuxWV166


Christopher Herrick (organ)
Recording details: January 2009
Nidaros Cathedral, Trondheim, Norway
Produced by Paul Spicer
Engineered by Simon Eadon & Sean Lewis
Release date: January 2010
Total duration: 4 minutes 39 seconds

Cover artwork: Church interior, with people at prayer in the foreground and a small procession in the main aisle by Bartolomeus van Bassen (c1590-1652)
Johnny van Haeften Gallery, London / Bridgeman Art Library, London


'The magnificent 1741 Wagner organ in Trondheim's Nidaros Cathedral. In possession of some pugnacious reeds and a thrilling 'pleno', it's an ideal choice for a disc which includes some big-boned praeludia as well as Buxtehude's most extended organ work: the imposing Fantasia on the Te Deum whose architectural acuity Herrick unfolds with magisterial authority … Herrick's flair for apposite registration illuminates at every turn … sonorously splendiferous' (BBC Music Magazine)

'The ambitions Te Deum and the grand Praeludium in C major confirm Buxtehude's inspiring originality. No wonder the young Bach once walked 200 miles to hear him play' (The Observer)
The Canzona in C major, BuxWV166, begins with a four-voice fugue, its lively subject consisting entirely of semiquavers. The lengthy episode beginning at bar 24 is followed at bar 41 by a second, jig-like fugue; and the third and final fugue, like the first, is based on a subject consisting entirely of semiquavers.

from notes by Relf Clark © 2010

La Canzone en ut majeur, BuxWV166, commence par une fugue à quatre voix, au sujet enjoué tout en doubles croches. Le long épisode démarrant à la mesure 24 est suivi, à la mesure 41, d’une deuxième fugue à la gigue; quant à la troisième et dernière fugue, elle est, comme la première, édifiée sur un sujet tout en doubles croches.

extrait des notes rédigées par Relf Clark © 2010
Français: Hypérion

Die Canzona in C-Dur, BuxWV166, beginnt mit einer vierstimmigen Fuge, deren lebhaftes Thema ausschließlich Sechzehntel enthält. Der etwas langatmigen Episode, die in Takt 24 beginnt, folgt in Takt 41 eine zweite, giguehafte Fuge, und die dritte und letzte Fuge basiert wie die erste auf einem ausschließlich aus Sechzehnteln bestehenden Thema.

aus dem Begleittext von Relf Clark © 2010
Deutsch: Renate Wendel

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