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Track(s) taken from CDA67421/2

Erbarm dich mein, o Herre Gott


Christopher Herrick (organ)
Recording details: August 2002
Norrfjärden Kyrka, Piteå, Sweden
Produced by Paul Spicer
Engineered by Simon Eadon
Release date: August 2003
Total duration: 12 minutes 45 seconds


'…this is really inspiring playing with some compelling insights into the structure of Sweelinck's often monumental pieces.' (Early Music Review)

'This set is obviously the outcome of a thorough, deeply pondered approach. It more then renders justice to Sweelinck's music by bringing out its variety, inventiveness and fanciful exuberance. Strongly recommended.' (Fanfare, USA)

'Herrick, who is up to all the technical demands made by the music, aptly uses early keyboard fingering, while his carefully chosen registrations … are a real treat for the ear' (Goldberg)
Erbarme dich mein, o Herre Gott is the most extended of all the sets, having six sections which fall into three pairs. In each of the first four verses the tune appears alternately in the soprano and the bass. The accompanying voices are derived from the tune and treated imitatively. The melody returns to the top part for variations 5 and 6, the latter being an extravagantly decorated version.

from notes by Stephen Westrop © 2003

Erbarme dich mein, O Herre Gott est le plus important de tous les thème-variations, puisqu’il comprend six sections qui s’inscrivent en trois paires. Chacun des quatre premiers versets exploite la mélodie alternativement au soprano et à la basse. Traité en imitation, le matériau d’accompagnement est dérivé de la mélodie. Celle-ci réapparaît à la voix supérieure pour les variations 5 et 6, cette dernière étant une version ornée de manière extravagante.

extrait des notes rédigées par Stephen Westrop © 2003
Français: Isabelle Battioni

Erbarme dich mein, o Herre Gott ist die umfangreichste Variationsreihe von allen. Sie besteht aus sechs Abschnitten, die sich jeweils in drei Paare gruppieren. In jedem der ersten vier Strophen erscheint die Melodie abwechselnd im Sopran und im Bass. Die Begleitstimmen wurden von der Melodie abgeleitet und in kontrapunktischer Imitation abgearbeitet. Die Melodie kehrt in den Variationen 5 und 6 zur höchsten Stimme zurück, die letztgenannte Variation ist eine extravagant verzierte Version.

aus dem Begleittext von Stephen Westrop © 2003
Deutsch: Elke Hockings

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