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Track(s) taken from CDA67876

Nun komm, der Heiden Heiland, BuxWV211

chorale prelude

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: 1 minutes 59 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)
In the Chorale Prelude on ‘Nun komm, der Heiden Heiland’, BuxWV211, an embellished version of the melody has a dignified accompaniment which seems to convey something of the solemnity of the season of Advent, and the increasing ornamentation draws attention away from the fact that those accompanying voices have a fair share of the melodic material. The concluding bars suggest very strongly that J S Bach knew this work, for they seem to anticipate the final bars of his ‘coloratura’ setting of the same melody (BWV659).

from notes by Relf Clark © 2011

Dans le Prélude-choral sur «Nun komm, der Heiden Heiland» BuxWV211, une version décorée de la mélodie recèle un accompagnement tout en dignité, qui semble charrier un peu de la solennité de l’Avent, une ornementation croissante détournant l’attention du fait que ces voix accompagnantes partagent une bonne part du matériau mélodique. Les mesures conclusives suggèrent très fortement que J. S. Bach connaissait cette œuvre, tant elles paraissent anticiper les mesures terminales de sa version «coloratura» de la même mélodie (BWV659).

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

In dem Choralvorspiel „Nun komm, der Heiden Heiland“, BuxWV211, hat eine verzierte Fassung der Melodie eine würdevolle Begleitung, die die Feierlichkeit der Adventszeit auszudrücken scheint, und die zunehmende Ornamentation lenkt von der Tatsache ab, dass sich in diesen Begleitstimmen ebenfalls ein beträchtlicher Anteil melodischen Materials findet. Man kann wohl davon ausgehen, dass J.S. Bach dieses Werk kannte, da die Schlusstakte die letzten Takte seiner „Koloratur“-Vertonung derselben Melodie (BWV659) zu antizipieren scheinen.

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

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