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Track(s) taken from CDA67809

Toccata in G major, BuxWV165


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: 5 minutes 13 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 Toccata in G major, BuxWV165, is for manuals alone. Bars 1–37 provide an animated introduction; at bar 38 begins a three-voice fugal passage based on a subject consisting entirely of semiquavers; and after a further extemporary passage, Buxtehude writes a coda in which variety is provided by the insertion of a jig-like passage.

from notes by Relf Clark © 2010

La Toccata en sol majeur, BuxWV165, s’adresse aux manuels seuls. Les mesures 1–37 fournissent une introduction animée et, à la mesure 38, un passage fugué à trois voix apparaît, qui se fonde sur un sujet tout en doubles croches; passé un nouvel épisode improvisé, Buxtehude conçoit une coda dont la variété découle de l’insertion d’un passage à la gigue.

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

Die Toccata in G-Dur, BuxWV165, ist für Manuale allein. Takt 1–37 bieten eine lebhafte Einführung, und in Takt 38 beginnt eine dreistimmige Fugenpassage, die auf einem ausschließlich aus Sechzehnteln bestehenden Thema basiert und nach einer weiteren improvisierten Passage schreibt Buxtehude eine Coda, in der er durch die Einschiebung einer giguehaften Passage Abwechslung erreicht.

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

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