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Track(s) taken from CDA67876

Ich ruf zu dir, Herr Jesu Christ, BuxWV196

chorale fantasia

Christopher Herrick (organ)
Recording details: January 2011
Trinity College Chapel, Cambridge, United Kingdom
Produced by Paul Spicer & Simon Eadon
Engineered by Dave Rowell & Simon Eadon
Release date: September 2011
Total duration: 3 minutes 12 seconds

Cover artwork: Interior of a Gothic Church (1787) by Johann Ludwig Ernst Morgenstern (1738-1819)
Schlossmuseum, Scholl Friedenstein, Gotha, Germany / Bridgeman Art Library, London


'Christopher Herrick's performances in this series have breathed musical life into the rich repertoire of organ music by Buxtehude and this release is no exception. The expressive and thoughtful interpretations of the repertoire presented on this disc make it a worthwhile addition to any collection' (International Record Review)

'Christopher Herrick clocks up another memorable recording. His terrifically nimble-fingered and fleet-footed playing betrays no sign of someone soon to be entering his eighth decade! There is surely nothing to be said against another complete set of Buxtehude's organ works when the music is this good or performed this well. The technical sound quality and chapel acoustics are very good, and the Trinity College organ —Metzler-built, like those in Herrick's celebrated complete Bach organ cycle, and dating back only as far as 1976, though incorporating seven ranks from Trinity predecessors from 1694 and 1708—sounds superb. Not particularly authentic but Buxtehude himself would almost certainly have enjoyed its breadth and power. As usual with Hyperion, the trilingual CD booklet gives excellent information on the music, track by track, not to mention a full description of the organ, including registrations for each of the pieces' (MusicWeb International)
The Chorale Fantasia on ‘Ich ruf zu dir, Herr Jesu Christ’, BuxWV196, has a ten-bar introduction in which the melody appears in long notes in the upper voice and the left hand has a single-voice accompaniment consisting mostly of semiquavers. Thereafter the work seems to be proceeding along the lines of a typical Buxtehude Chorale Prelude, with the embellished melody accompanied in the usual way by the left hand and pedals, but there is a graceful, jig-like interlude (at 1'00'' to 1'15'') and instead of proceeding more or less consistently, Buxtehude explores a number of different textures and figurations and concludes with a lengthy cadenza-like coda over long-held pedal notes.

from notes by Relf Clark © 2011

Dans la fantaisie-choral sur «Ich ruf zu dir, Herr Jesu Christ» BuxWV196, une introduction de dix mesures laisse apparaître la mélodie en longues à la voix supérieure, la main gauche assumant un accompagnement à une seule voix constitué surtout de doubles croches. L’œuvre paraît ensuite reprendre les lignes d’un prélude-choral typique de Buxtehude, avec la mélodie décorée accompagnée, comme à l’accoutumée, par la main gauche et les pédales; il y a cependant un charmant interlude à la gigue (de 1'00'' à 1'15'') et, au lieu de poursuivre avec plus ou moins de constance, le compositeur explore diverses textures et figurations avant de conclure sur une longue coda façon cadenza, par-dessus des notes pédales tenues.

extrait des notes rédigées par Relf Clark © 2011
Français: Hypérion

Die Choralfantasie über „Ich ruf zu dir, Herr Jesu Christ“, BuxWV196, hat eine zehntaktige Einleitung, in der die Melodie in langen Noten in der Oberstimme erklingt, während die linke Hand eine einstimmige, vorwiegend aus Sechzehnteln bestehende Begleitung spielt. Danach scheint sich das Werk in der Art eines typischen Choralvorspiels Buxtehudes zu entwickeln, wobei die verzierte Melodie auf gewohnte Art und Weise von der linken Hand und der Pedalstimme begleitet wird, doch erklingt ein anmutiges, gigueartiges Zwischenspiel (bei 1'00'' bis 1'15'') und anstatt dann mehr oder minder konsequent fortzufahren, verarbeitet Buxtehude mehrere verschiedene Texturen und Figurationen und schließt mit einer ausgedehnten kadenzartigen Coda über lang ausgehaltenen Orgelpunkten ab.

aus dem Begleittext von Relf Clark © 2011
Deutsch: Viola Scheffel

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