…Harald Vogel is an authoritative proponent and guide through all aspects of this music, and the quality of his playing, and of the recordings and choice of instruments can hardly be faulted. Already recognised as interpretations and recordings without equal, certainly in a complete edition, this set has to be considered the current Buxtehude standard bearer.
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 fourteenth volume of Christopher Herrick’s monumental Organ Fireworks series comes from the organ of Melbourne Town Hall. As ever, Herrick presents a cornucopia of virtuoso delights, opening with a bang with Lemare’s outrageous transcription of the Grand March from Aida, given a new sheen by Herrick himself. Other works include pieces by living composers Iain Farrington and Paul Spicer, and examples of the best of the English and French traditions of 19th and 20th century organ writing.
"…CPO's production is exemplary; informative and detailed notes on the organ and music are given in German, English and French, and the cover reproduces an attractive landscape painting. A most enjoyable recording of two excellent but rarely-performed Widor works, which will delight organ and orchestral lovers in equal measure." ~sa-cd.net
The six Sonatas, which are often described as 'Trio Sonatas for Organ,' hold a unique place in Bach's oeuvre. In a sense, 'trio' is the most natural organ texture: right hand, left hand, and feet each takes one line of counterpoint. However, in the six Sonatas, the contrapuntal lines are granted a degree of independence that is unmatched in Bach's surviving organ music. Thus, they are atypical of Bach's output for the instrument, and indeed oforgan music in general. The Sonatas are, in effect, 'ensemble music for one player' indeed, several movements originated as actual ensemble pieces.