Jean Deroyer Bernard Foccroulle Am Rande Der Nacht

Winner of a Diapason d'Or and a Choc du Monde la Musique. The greatest recording of the organ works of Buxtehude by specialist Bernard Foccroulle, who uses five historic and modern instruments to shed a new light on the richness and variety of this repertory.

Matthias Weckmann is doubtless the most fascinating Hamburg composer of the mid-17th century. A disciple of Schütz, nurtured on Italian music and, in particular, that of Claudio Monteverdi, he shone in all genres, achieving an impressive blending of these two worlds. His concerts spirituels are characterised by the important role they give to the instruments, veritable accomplices of the singers. His sonatas espouse the Venetian models with their original instrumentation uniting violin, cornett, trombone and bassoon. His organ music constitutes the veritable transition between the generations of Sweelinck and Buxtehude. And in his harpsichord pieces, he also tries his hand at the French suite style. Over the years, Ricercar has recorded his complete works, and the year of the 400th anniversary of his birth imposed itself for bringing together the first complete release of these recordings.

During the years in which Bernard Foccroulle was successively director of the Théâtre de la Monnaie in Brussels and the Festival d’Aix-en-Provence, he never ceased to devote himself to his instrument, the organ, regularly making recordings, giving numerous concerts and several premieres. The compositions on this recording range over that thirty-year cycle, from the 1991 premiere of Jonathan Harvey’s Fantasia in Strasbourg to that of Betsy Jolas’s Musique d’autres jours, a piece combining organ with cello that was premiered in Paris in February 2021 during the Présences Festival. His collaboration with the cellist Sonia Wieder-Atherton also resulted in a new composition by Bernard Foccroulle for this organ-cello duo!

This recording presents several of J.S. Bach's most famous organ works as well as various chorale preludes. The majority of these pieces demonstrate the influence of the North German school and of Buxtehude and Reinken in particular, although how this is done depends very much on whether the piece concerned is a chorale prelude or one of the larger free-form works. Until recently the opening bars of Wo Gott der Herr nicht bei uns hält were all that we knew of the score, given that a fair copy came to light in a public auction only in March 2008…

Johann Sebastian Bach composed his most renowned organ works — the Toccatas, the Fantasia in G minor and the Passacaglia in C minor — in Weimar, in the stylus fantasticus so beloved of his Northern German masters Buxtehude and Reinken. Bach here follows in his predecessors’ footsteps in all of these large-scale works: the freely inventive writing in the preludes is linked to the rigour of the fugal construction and so brings them to a majestic conclusion.