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Track(s) taken from CDA67964

Praeludium in the Phrygian mode, BuxWV152


Christopher Herrick (organ)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: February 2012
Mariager Klosterkirke, Denmark
Produced by Paul Spicer
Engineered by Simon Eadon
Release date: December 2012
Total duration: 4 minutes 19 seconds

Cover artwork: Church Interior by Hendrik Cornelisz van Vliet (c1611-1675)
Museum voor Schone Kunsten, Ghent, Belgium / © Lukas - Art in Flanders VZW / Bridgeman Art Library, London


'A simply splendid album. The organ … is a delight to the ears, its manifest charms precisely mapped out in detailed registrations provided in the excellent booklet … above all, of course, is Herrick's immensely enjoyable playing … all in all a delight to the ears which brings a smile to the face and a lift to the soul' (Gramophone)

'Hugely successful … Herrick's performance of the Praeludium … is packed with personality and character … the freedom with which Herrick approaches this piece and the extent to which is it possible to hear the performer's voice, as well as that of the composer, projected in this performance, cannot be described as anything other than exhilarating … Herrick's playing is characteristically excellent throughout. His performances of the free works are, without exception, rhetorically engaging and lively, while the chorale melodies sing beautifully, such is his sensitive approach to musical line … very highly recommended' (International Record Review)

'Herrick's generously-timed programme consists of an entertaining mix of items, mainly Praeludia or Chorale Preludes. Slower, ruminative pieces alternate with boisterous, dramatic works in a recital that manages to be both elegant and fulgurous, profound and sensuous. Works generally run to less than four minutes each, but short does not equate with inconsequential in Buxtehude's music: even the merest pieces speak volumes about the composer's imagination, virtuosity and originality … this set ought to be the primary destination for collectors' (MusicWeb International)
The modality of the Praeludium in the Phrygian mode, BuxWV152, is proclaimed by the pedals’ descent via F natural to low E in bars 8–9 of the free introduction (in which Buxtehude’s ability to create stirring harmony is splendidly displayed). A fugue begins at bar 18 (at 1'10''), the first three notes of its counter-subject underlining the modality. It runs without a break into the new, triple-time fugue beginning at bar 44 (at 2'32''); its subject is a variant of that of the first. The briefest of codas brings the work to a sober close and in recalling the textures of the opening bars gives it a satisfying symmetry.

from notes by Relf Clark © 2012

La modalité du Praeludium en mode phrygien, BuxWV152, est annoncée par la descente au pédalier à mi grave, via fa bécarre, aux mesures 8–9 de l’introduction libre (splendide démonstration de l’aptitude buxtehudienne à forger une harmonie vibrante). Une fugue démarre à la mesure 18 (à 1'10''; les trois premières notes de son contre-thème viennent souligner la modalité) et mène droit à une nouvelle fugue ternaire, qui commence à la mesure 44 (à 2'32''; son sujet est une variante de celui de la première). La plus courte des codas amène l’œuvre à une conclusion sobre et, par son rappel des textures des mesures inaugurales, offre une symétrie convaincante.

extrait des notes rédigées par Relf Clark © 2012
Français: Hypérion

Das Präludium BuxWV152 steht im phrygischen Modus, was sich erstmals durch den Abstieg im Pedal über F bis hin zum tiefen E im 8. und 9. Takt der freien Einleitung äußert (hier wird zudem Buxtehudes Vermögen, ergreifende Harmonien zu konstruieren, in großartiger Weise demonstriert). In Takt 18 (bei 1'10'') beginnt eine Fuge, in der in den ersten drei Tönen des Gegenthemas die Modalität noch einmal unterstrichen wird. Ohne Unterbrechung geht es dann in Takt 44 (bei 2'32'') in eine neue Fuge im Dreiertakt über, deren Thema eine Variante des ersten ist. Das Werk wird mit einer sehr kurzen Coda in bescheidener Weise beendet, wobei die Erinnerung an die Strukturen der ersten Takte für eine befriedigende Symmetrie sorgt.

aus dem Begleittext von Relf Clark © 2012
Deutsch: Viola Scheffel

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