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Track(s) taken from CDA67809

Praeludium in C major, BuxWV138


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 25 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)
With the Praeludium in C major, BuxWV138, Buxtehude comes near to the two-movement form associated with J S Bach, for instead of writing a sequence of movements in which free writing alternates with passages that are fugal in character, he follows his opening section with just one fugue and concludes with a coda which, although free, is too brief to be thought of as a separate movement. The first section is of the customary brilliant character. The second is based on a subject whose descending three-quaver ‘head’ enables its various entries to be recognized with relative ease; and in the coda, contrary motion again produces harmony of a kind that sounds remarkably modern.

from notes by Relf Clark © 2010

Avec le Praeludium en ut majeur, BuxWV138, Buxtehude s’approche là de la forme en deux mouvements associée à J.S. Bach, car au lieu d’écrire une séquence de mouvements faisant alterner écriture libre et passages de caractère fugué, il fait suivre sa section inaugurale d’une seule fugue et termine par une coda libre mais trop brève pour pouvoir être considérée comme un mouvement isolé. La première section affiche l’habituel caractère brillant cependant que la seconde repose sur un sujet dont la «tête» à trois croches descendantes fait qu’on repère assez facilement ses diverses entrées; enfin, dans la coda, un mouvement contraire produit une fois encore une harmonie qui sonne remarquablement moderne.

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

Hier kommt Buxtehude der zweisätzigen Form nahe, die mit Bach assoziiert ist, denn statt eine Reihe von Sätzen zu schreiben, in denen sich freier Satz mit Passagen von fugalem Charakter abwechseln, lässt er seinem Anfangsabschnitt nur eine Fuge folgen und schließt mit einer Coda, die zwar frei, aber zu kurz ist, um als separater Satz zu gelten. Der erste Abschnitt ist wie üblich brillant im Charakter. Der zweite basiert auf einem Thema, dessen „Kopf“ aus drei absteigenden Vierteln erlaubt, seine verschiedenen Einsätze relativ leicht zu erkennen, und in der Coda produziert die Gegenbewegung wiederum erstaunlich modern klingende Harmonien.

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

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