Christopher Rouse Ogoun Badagris

Christopher O’Riley’s THE WELL-TEMPERED CLAVIER BOOK I delves into the subtle intricacies of Bach’s famous masterwork, revealing the composer’s nuanced craftsmanship through an exploration of the spaces between notes. Inspired by Bach’s profound lyricism and informed by historical insights, O’Riley’s interpretation transcends conventional keyboard traditions. Embracing the expressive potential of articulation and texture, he illuminates counterpoint with dynamic contrast, unveiling hidden dialogues within Bach’s compositions. Through meticulous attention to intonation and rhythmic flexibility, O’Riley uncovers layers of meaning, echoing the Japanese concept of “Ma” — the significance of space and silence. This album invites listeners to immerse themselves in Bach’s universe, where every pause resonates with depth and possibility.

This latest addition to Christopher Herrick’s acclaimed Buxtehude catalogue is performed on the magnificent Organ of Trinity College Chapel, Cambridge. Everything heard on this disc was composed over three-hundred years ago when printed music was a rarity and organists were required to be highly proficient in the art of improvisation. Certainly none of Buxtehude’s organ works was printed in his lifetime, and it was not until 1875 that they first became available. Herrick’s communication is exceptional in these stimulating performances and his inspired interpretations are so vivid that they appear improvisatory in their approach.

This second volume of Trombone Travels (Volume 1 is on 8574093) continues with Matthew Gee’s exploration of three great cycles of early 20th-century British song. Elgar’s Sea Pictures evoke lullaby and turbulence alike, Vaughan Williams’s Songs of Travel chart a wanderer’s lonely journey through the landscape, and in Songs of the Sea Stanford’s music embraces both the sombre and the exhilarating, with Gee joined by a trombone chorus to emulate the male voice choir. Throughout the recital Gee lavishes colouristic effects, the use of mutes, and subtle inflections that reinforce the trombone’s unique ability to mimic vocal techniques.