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Buxtehude - Complete Organ Works Volume 5

Buxtehude - Complete Organ Works Volume 5


Praeludium in G Major, BuxWV147

Ach Gott und Herr BuxWV 177

Ich dank dir, lieber Herre (F), BuxWV 194 Bel.5

Von Gott will ich nicht lassen, BuxWV220

Praeludium in E Major, BuxWV141

Nun bitten wir den Heilgen Geist, BuxWV209

Fugue in G major, BuxWV175

Magnificat primi toni, BuxWV 204

Praeludium in F Major, BuxWV144

Durch Adams Fall ist ganz verderbt BuxWv 183

Praeludium in the Phrygian mode, BuxWV152

Lob Gott, ihr christen, allzugleich BuxWV 202

Herr Christ, der einig Gottes Sohn, BuxWV 192

Praeludium in E Minor, BuxWV143

Es spricht der unweisen Mund wohl, BuxWV 187

Jesus Christus, unser Heiland, der den Tod überwand, BuxWV 198

Gelobet seist du, Jesu Christ, BuxWV188

Vater unser im Himmelreich, BuxWV219

Praeludium in C major, BuxWV137

Chorale Prelude BuxWV 201 'Kommt her zu mir, spricht Gottes Sohn'

Canzonetta in G major, BuxWV171

Christopher Herrick (Aubertin organ of Mariager Klosterkirke, Denmark)

Christopher Herrick’s acclaimed series of Buxtehude’s Complete Organ Works reaches a fifth and final volume. Here he returns to the composer’s (disputed) home country of Denmark, and the organ of Mariager Klosterkirke.

Highlights include the magnificent Praeludium in C major, BuxWV137 (known to English-speaking organists as the ‘Prelude, Fugue and Chaconne in C’) and the Chorale Fantasia on the Christmas melody ‘Gelobet seist du, Jesu Christ’, BuxWV188—among the longest and most elaborate of Buxtehude’s chorale settings.

“Outstanding competition and the revisiting of material must in no way prove a barrier to anyone with even a vague interest in Buxtehude's organ music, for this is a simply splendid disc...Above all, of course, is Herrick's immensely enjoyable playing...Big Preludiae are delivered with grace and style, majestic rather than aggressive. All in all a delight to the ears which brings a smile to the face and a lift to the soul.” Gramophone Magazine, April 2013

“even the merest pieces speak volumes about the composer's imagination, virtuosity and originality...Herrick was almost seventy when this recording was made...Yet his fingers, feet and musical intelligence remain as nimble and sure as ever...this set ought to be the primary destination for collectors.” MusicWeb International, January 2013

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Hyperion Organ Music Christopher Herrick Buxtehude Complete Organ Works - CDA67964


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Saint-Saëns: Organ Music Volume 3

Saint-Saëns: Organ Music Volume 3


Rhapsodies (3) on Breton Themes, Op. 7

Theme, variations & choral on ‘le Dies irae'

O salutaris hostia

Sarabande in D major 'Offertoire'

Elevation Ou Communion in E major, Op. 13

Fantaisie pour orgue-Aeolian

with Adrian Bending (tubular bells)

Andrew-John Smith (Organ of La Madeleine, Paris)

This third volume completes Andrew-John Smith’s series of Saint-Saëns’ Organ Music, which has been praised for the compelling brilliance of the performances, the inspired choice of instrument and the remarkable quality of the music itself.

The recital ends with the formidable Fantaisie pour orgue-Aeolian, a work which makes extraordinary technical demands on the organist—in fact the composer himself wrote that it was ‘unplayable by the fingers and feet’. This led to the work being condemned to obscurity and it was as recently as 1988 that it was reconstructed and published for the first time. Andrew-John Smith’s performance defies this edict, and the translation of the original registration to the organ of La Madeleine is a feat of ingenuity.

“The mighty Fantasie pour orgue-Aeolian, complete with tubular bells, written for the new American Aeolian organ in 1906, sounds epic on this vast, brooding instrument, so splendidly tamed by the dextrous Smith.” The Observer, 15th July 2012

“Smith convincingly suggests that Saint-Saens intended this allegedly unplayable piece [Fantaisie pour orgue-Aeolian] for the self-playing instrument in the Grosvenor Gallery in London' New Bond Street. He does, however, dramatically prove that the work, at the hands of a true master, is far from unplayable. A fitting climax to a wonderful recorded series.” Gramophone Magazine, September 2012

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Hyperion Organ Music - CDA67922


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Buxtehude - Complete Organ Works Volume 4

Buxtehude - Complete Organ Works Volume 4


Praeludium in A Major, BuxWV158

Chorale Prelude BuxWV 196 'Ich ruf zu dir, Herr Jesu Christ'

Praeludium in G minor, BuxWV148

Canzonetta in C Major, BuxWV 167

Toccata in F major, BuxWV156

Christ unser Herr zum Jordan kam, BuxWV180

Fugue in B flat major, BuxWV176

Nun lob, mein Seel, den Herren, BuxWV214

Cantzon ex Gb, BuxWV173

Toccata un G major BuxWv 164

Gott der Vater wohn uns bei, BuxWV190

Canzonetta in A major, BuxWV 225

Passacaglia in D minor, BuxWV161

Fantasia on 'Wie schön leuchtet der Morgenstern', BuxWV223

Nun komm, der heiden Heiland, BuxWV211

Det Tag der ist so freudenreich, BuxWV182

Chorale Prelude BuxWV 197 'In dulci jubilo'

Praeludium in E Minor, BuxWV142

Christopher Herrick (organ of Trinity College Chapel, Cambridge)

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.

“An unforced manner is essential for this oqpaue and, at times, fragile music...Registrations are beautifully balanced throughout, and the pleno, while thrilling, isn't overbearing...There is fizz and sparkle in all the right places and just enough warmth in the bass...This is shapely playing, with a touch of humour, especially in the spirghtly jigs. A thoroughly enjoyable production, with the customary excellent documentation.” Gramophone Magazine, November 2011

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Hyperion Organ Music Christopher Herrick Buxtehude Complete Organ Works - CDA67876


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Saint-Saëns: Organ Music Volume 2

Saint-Saëns: Organ Music Volume 2


Improvisations (7), Op. 150

Prelude in F major

Preludes and Fugues (3), Op. 109

Verset in F major

Verset in E minor

Andrew-John Smith (organ)

British organist Andrew-John Smith once again brings his compelling artistry to the service of Camille Saint-Saëns.

Smith’s commanding sense of architecture, breathtaking musicality and astonishing control of dynamics and nuance is thrilling. As with Volume 1, this disc provides a rare opportunity to hear Saint-Saëns’s organ works played on the very instrument for which they were composed - the magnificent Cavaillé-Coll at La Madeleine, Paris.

The art of improvisation was essential for French organists and huge importance was placed on the development of this skill. Saint-Saëns was renowned for his extraordinary organ improvisations and it was said that ‘his genius was of an indescribable splendour’. In committing these extensive improvisations to paper he offers an insight into his instinctive musical logic and dazzling virtuosity. The Preludes and Fugues bear witness to the composer’s improvisatory flare and demonstrate the extent of his vastly imaginative compositional skills.

“The sequence is satisfying and diversified, the affecting charm and delicate catchiness of the G major Prélude et Fugue or A major Improvisation contrasting with the gigantic splendour of the climaxes of the C major and D minor fugues: a majesty of which this Cavaillé-Coll instrument is, one wants to say, uniquely capable.” Sunday Times, 31st July 2011 ***

“The preludes and fugues make a sharply contrasted trio: the first and last, in D minor and C, are grand in scale and conception; the second, in G, is much more compact and relaxed. Smith makes full use of the resources of the Madeleine instrument to colour them all.” The Guardian, 4th August 2011 ***

“[Andrew-John Smith] underlines the imagination and variety Saint-Saëns brought to his organ writing.” The Telegraph, 25th August 2011 ****

“in Andrew-John Smith [Saint-Saens has] an advocate who understands just how to lift from the printed page and project this remarkably rigorous yet beguiling music. The combination of this artist playing this music in such an authentic setting proves to be unbeatable...This disc is a magnificent achievement: the recorded sound is engrossing and is devoid of any hint of the Parisian traffic soundtrack.” Gramophone Magazine, October 2011

“His performance of this repertoire is compelling and absorbs the listener from start to finish. The music is of uniformly high quality, played on a fantastic organ by a supremely accomplished performer and is therefore to be highly recommended.” International Record Review, September 2011

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Hyperion Organ Music - CDA67815


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Buxtehude - Complete Organ Works Volume 3

Buxtehude - Complete Organ Works Volume 3


Praeludium in D Minor, BuxWV140

Danket dem Herren, (3 var.) BuxWV 181

Canzonetta in G major, BuxWV172

Prelude and Fugue in G minor, BuxWV163

Canzona in E minor BuxWV 169

Erhalt uns Herr bei deinem Wort, BuxWV185

Nun lob, mein Seel, den Herren, BuxWV212

Praeludium in F Major, BuxWV145

Herr Jesu Christ, ich weiss gar wohl, BuxWV 193

Magnificat primi toni, BuxWV 203

Gelobet seist du, Jesu Christ, BuxWV189

Es ist das Heil uns kommen her, BuxWV186

Puer natus in Bethlehem, BuxWV217

Praeludium in C major, BuxWV136

Chorale Prelude BuxWV 200 'Komm, heiliger Geist, Herre Gott'

Canzona in G major, BuxWV170

Herr Christ, der einig Gottes Sohn, BuxWV 191

Praeambulum in F sharp minor, BuxWv 146

Christopher Herrick (organ of St-Louis-en-l'Île, Paris)

The latest volume of Christopher Herrick’s acclaimed series of Buxtehude’s complete organ works comes from Paris and the admired organ of St-Louis-en-l’Île – formally opened in 2005, and based on the work of Zacharias Hildebrant (1688-1757). As with previous discs, it includes a selection of the composer’s praeludia, ostinato works, canzonettas and canzonas, interspersed with chorale preludes, chorale fantasias and variations.

Highlights include the magnificent Praeludium in D minor, BuxWV140, which is among the finest and most striking examples of the genre, and a particularly beautiful and contrasting set of chorale preludes.

“Always captivating and frequently entertaining as he tosses off ornaments and decorative figures with the panache of a circus act, he communicates an enthusiasm for the music which never stoops to poor taste or anything less than thorough musical integrity. Always an invigorating communicator, he is as compelling in his dazzlingly articulated virtuoso displays as he is in the delicate chorale preludes.” Gramophone Magazine, May 2011

“An extraordinarily diverse tonal palette is explored in the chorale-based works...Within the more substantial works...Herrick makes numerous registration changes. These provide welcome variety and strengthen the rhetorical argument of these works which are often highly sectional in nature...This recording, along with its two predecessors in the series, is a first-rate addition to the catalogue.” International Record Review, April 2011

“Herrick is at his most persuasive in the chorale-embroidering preludes...commanding in the large-scale Magnificat Fantasia, to-the-point in the extended fugue which concludes BuxWV 145, and he discovers his inner Koopman-esque wild man at the start of the F sharp minor Praeludium whose key elicits a blaze of bullish 'attitude' from the organ's not-quite-equal temperament.” BBC Music Magazine, May 2011 ****

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Hyperion Organ Music Christopher Herrick Buxtehude Complete Organ Works - CDA67855


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Flor Peeters: Organ Music

Flor Peeters: Organ Music


Concert Piece, Op 52a

Aria for organ, Op. 51a

Suite Modale, Op. 43

Variations and Finale on an Old Flemish Song Op. 20

Zehn Orgelchoräle, Op. 39

Élégie, Op. 38

Toccata, Fugue & Hymn on Ave maris stella (organ solo), Op. 28

Lied to the Flowers, Op, 66, No. 3

Lied to the Sun, Op. 66, No. 5

D'Arcy Trinkwon (Marcussen organ of Tonbridge School Chapel)

The Flemish composer-organist Flor Peeters was celebrated in his lifetime with a concert career that took him all around Europe, as well as to America, South Africa and Australia, while remaining the organist of St Rombout’s Cathedral in Mechelen. He was trained as a Catholic church musician and Gregorian chant and the medieval modes remained a lifelong inspiration for his music.

His mature music is often described as neoclassical, and most of it is essentially polyphonic, with an emphasis on simplicity and clarity, transparent linear textures and pungent, incisive tone-colours. Peeters was an almost exact contemporary of Maurice Duruflé, who shared his love of plainsong and the modes. But where Duruflé, with a typically French sensibility, conjured subtle impressionist soundscapes from his modal language, Peeters preferred sharper contours and brighter colours—Van Gogh, perhaps, compared with Duruflé’s Monet.

This disc includes a wide selection of his works for organ, encompassing large-scale concert works as well as some of his many chorale preludes. Peeters’ vast and expertly crafted oeuvre—matched in its size and scope only by a handful of other organ composers – displays great contrast and imagination.

“Although it must be a daunting challenge to reduce Peeters's vast organ output down to a 75 minute representative selection, Trinkwon has managed successfully to cover most angles...the playing is mostly top-notch, with the Tonbridge Marcussen ideally suited to Peeters's clear countrapuntal [sic] voice-leading.” Gramophone Magazine, March 2011

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Hyperion Organ Music - CDA67825


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Organ Fireworks XIV

Organ Fireworks XIV

Buck, D:

Variations on Old Folks at Home


Animal Parade: No. 8: Penguins

Animal Parade: No. 2: Giraffes

Animal Parade: No. 3: Barrel Organ Monkey

Franck, C:

Pièce héroïque, M37


Sonata No. 1 in D minor for organ, Op. 42


Triumphal March


Toccata in D major


Fanfare and Dances


Grand March from Aida

arr. Edwin Lemare & Christopher Herrick

Wesley, S S:

Choral Song & Fugue (from Three Pieces for a Chamber Organ)

Christopher Herrick (organ of Melbourne Town Hall)

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.

“the dynamic range and palette of tonal colours that Herrick conjures up and the exemplary clarity of the recording make this a highly satisfying release...it's a cleverly contrasted selection with something to suit everyone's musical taste.” Classic FM Magazine, December 2010 ****

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Hyperion Organ Music Organ Fireworks - CDA67758


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Buxtehude - Complete Organ Works Volume 2

Buxtehude - Complete Organ Works Volume 2


Praeludium in G minor, BuxWV149

Canzona BuxWV 166

Te Deum Laudamus, BuxWv 218

Mensch, willst du leben seliglich, BuxWV 206

Praeludium in A Minor, BuxWV153

Chorale Prelude BuxWV 199 'Komm, heiliger Geist, Herre Gott'

Nimm von uns, Herr, Du treuer Gott, BuxWV207

Toccata in G, BuxWV 165

Ciacona in E minor, BuxWV160

Wär Gott nicht mit uns diese Zeit, BuxWV 222

Wir danken dir, Herr Jesu Christ,daß du gen Himmel gefahren bist, BuxWV 224

Toccata in D minor, BuxWV155

Nun lob mein Seel’ den Herren (G), BuxWV 213

Praeludium in C major, BuxWV138

Christopher Herrick (organ of Nidaros Cathedral, Trondheim, Norway)

Christopher Herrick’s acclaimed series of Buxtehude’s complete organ works continues with a selection of his praeludia, toccatas, ostinato works, and canzonas, interspersed with chorale preludes and variations. For this disc he turns to the magnificent organ of Trondheim Cathedral in Norway, originally built by Joachim Wagner (1690–1749) and restored to its former baroque glory in 1994.

Highlights from this disc include the brilliant, flamboyant Praeludium in G minor, BuxWV149. Here, as so often in Buxtehude’s organ works, one can picture an organist seated at a console completely free of music and giving his imagination full rein. Also, the Chorale Fantasia on Te Deum, BuxWV218, the only plainsong-based work on this CD and one of Buxtehude’s longest and grandest works for organ.

“As in Vol. 1, Herrick's flair for apposite registration illuminate at every turn, and the first three notes of the opening G minor Praeludium serve notice that his phrasing will be nothing if not fastidious. …he lets the music (and instrument) speak eloquently for themselves - charmingly fluty in the C major Canzona, unexpectedly perky at the start of the E minor Ciaccona and sonorously splendiferous for the final Praeludium in C.” BBC Music Magazine, February 2010 ****

“…Herrick brings a convincing sense of fluidity and a quasi-extemporaneous flair to the music… The recorded sound is ideal with traffic rumble minimised. Another triumph!” Gramophone Magazine, February 2010

“The ambitious Te Deum and the grand Praeludium in C major confirm Buxtehude's inspiring originality. No wonder the young Bach once walked 200 miles to hear him play.” The Observer, 17th January 2010

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Hyperion Organ Music Christopher Herrick Buxtehude Complete Organ Works - CDA67809


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Organ Fireworks XIII

Organ Fireworks XIII

Bourgeois, D:

Prelude and Toccata


Choral varié from Prélude, Adagio et Choral varié sur le thème du ‘Veni Creator’, Op. 4


Handel in the Strand


Toccata and Fugue in D minor, Op. 98

Lloyd Webber, W:

Dedication March


Recessional, Op. 96 No. 4

Olsson, O E:

Credo symphoniacum, Op. 50: I. Introduction and Allegro ‘Credo in unum Deum’


Variations and finale on ‘Ah vous dirai-je, Maman’, Op. 90

Vaughan Williams:

Prelude and Fugue in C minor


Grand choeur ‘Benedicamus Domino’

Christopher Herrick (organ of Västerås Cathedral, Sweden)

Christopher Herrick continues the Scandinavian leg of his endlessly popular Organ Fireworks series with a disc of music performed on the great organ of Västerås Cathedral in Sweden. The programme is, as ever, a tempting pot-pourri of pieces from around the world, some popular, some rare; some light-hearted and some serious, and demonstrating all facets of virtuoso writing for the organ.

Highlights include a contribution from a Swedish composer: Otto Olsson’s magnificent Introduction and Allegro ‘Credo in unum Deum’. Duruflé’s Choral Varié on Veni Creator is a work of immense grandeur and majesty, and the performance shows Herrick to be a master of the classic French idiom. The present day is represented by Derek Bourgeois, one of the most prolific of living composers writing for the organ. Vaughan Williams’ Prelude and Fugue in C minor displays a gritty, truculent brand of counterpoint that anticipates the dissonance and fury of his Symphony No 4 in F minor. William Mathias’s Recessional is a classic ‘Organ Fireworks’ number: an athletic display of quick-fire semiquavers alternating with march-like passages with a tramping bass, and ending with a colourful, crashing explosion of notes.

“Herrick's playing and imaginative use of the organ's resources are first-rate, and he's backed up by a superb recording from Hyperion.” Gramophone Magazine, August 2009

“This instrument makes a pretty spectacular noise … With plenty of incendiary reeds and pyrotechnic instruments, it provides yet another ideal organ on which Christopher Herrick can light his blue touch paper and not retire but leap onto the pyre and set off as many fireworks as he can in the space of 78 minutes … He is a fluent and fiery champion of the repertoire … Herrick manages to persuade us that it is all worth hearing. He delivers it with enthusiasm and the communicative zeal which is the hallmark of just about everything this outstanding organist ever seems to put his hands and feet to … For lovers of fine organ sound and often spine-tingly virtuoso playing … this disc most certainly is not thirteenth time unlucky” International Record Review

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Hyperion Organ Music Organ Fireworks - CDA67734


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Saint-Saëns: Organ Music Volume 1

Saint-Saëns: Organ Music Volume 1


Fantaisie No. 2 for organ in D flat major, Op. 101

Cyprès, Op. 156 No. 1

Fantaisie No. 3 for organ in C major, Op. 157

Marche religieuse, Op. 107

Preludes and Fugues (3), Op. 99

Benediction Nuptiale in F major, Op. 9

Fantaisie No. 1 for organ in E flat major

Andrew-John Smith (Organ of La Madeleine, Paris)

Despite his modern fame, much of Saint-Saëns’s music was under-appreciated in his lifetime, and many of his organ works remain little known. His adherence to Classical principles - enshrined in the works of his idols Bach, Mozart, Schubert and Mendelssohn - and his antipathy towards what he perceived as the louche modernism of the Romantic movement hardly endeared him to congregations or clergy, long gorged on the fripperies offered by contemporary organists and somewhat resistant to being ‘told what was good for them’.

But as a performer his prodigious talent could not be ignored and by 1858, aged just twenty-three, he found himself at the console of Aristide Cavaillé-Coll’s brand-new organ at La Madeleine in Paris - four manuals, 48 stops and an unprecendented symphonic wall of sound lay at his disposal. (He also found the instrument, occupying the entire West wall of this enormous edifice, spacious enough to accommodate a constant stream of stars from the international musical firmament, including Liszt, Sarasate, Clara Schumann and Anton Rubinstein.) He was to hold the post for some twenty years.

The earliest works in Andrew-John Smith’s programme were composed during Saint-Saëns’s tenure at La Madeleine and it is a rare delight to be able to hear them performed on the organ the composer knew and so loved (and using only the registrations available to him at the time). For later compositions Smith employs some of the subsequent additions to Cavaillé-Coll’s original conception; the effects are thrilling and reflect contemporary reports of Saint-Saëns’s own performance practice - much of it unusual then and now - as his travels took him around France playing Cavaillé-Coll’s ever-more gargantuan organistic creations.

The English organist and conductor Andrew-John Smith was educated as an organ scholar at New College, Oxford and the Sweelinck Conservatorium, Amsterdam. Described by Choir & Organ magazine as ‘a rare pleasure in Britain’ he performs regularly in Europe and has recorded and broadcast as soloist and accompanist both for the BBC and abroad.

A Fellow of the Royal College of Organists, he has been a finalist for the Grand Prix de Chartres, and a prize-winner at the Royal College of Organists’ ‘Performer of the Year’ and the St Albans’ International Organ Festival. This is his first recording for Hyperion.

“[Saint-Saens' preludes, fugues and fantasies] are brilliantly played by the hugely talented Smith on the great Cavaille-Coll instrument that Saint-Saens knew.” The Observer, 13th July 2008

“…Smith's warm and sympathetic rubato is a constant delight, and his inspired choice to make the recording on an instrument played regularly be Saint-Saëns means that listeners can relish the authentic Gallic tones of the splendid La Madeleine organ.” Gramophone Magazine, October 2008

“Andrew-John Smith's clever programming alternates the Three Preludes and Fugues, Op 99, with the three Fantaisies and other works. Wisely, he begins and ends the CD with the loudest and most extrovert pieces, namely the E flat major Prelude and Fugue and the E flat Fantaisie. In between there are long stretches of quiet, introspective music, and listeners may long for the more dramatic compositions of Franck, Vierne or Widor. However, at his best Saint-Saëns has an originality and charm all his own; possibly no other French organistcomposer could have produced the delicate beauty of the B major Prelude or the Bénédictionnuptiale.
It's clear from his highly detailed bookletnotes plus his polished and stylish performances that Smith is an enthusiastic advocate of Saint- Saëns. What prevents this CD achieving its fullest impact is a cautious approach by player and sound engineers to the cavernous acoustic of the church of La Madeleine. The potential loss of detail leads Smith to adopt tempi which are sometimes slower than the composer's moderato and sans lenteur markings. Meanwhile the 1846 four-manual 58-stop Cavaillé-Coll organ is recorded close-up, and although we gain clarity we lose the sense of grandeur with a large instrument ringing around a massive edifice.
On the plus side, Smith's warm and sympathetic rubato is a constant delight, and his inspired choice to make the recording on an instrument played regularly by Saint-Saëns means that listeners can relish the authentic Gallic tones of the splendid La Madeleine organ.”
Gramophone Classical Music Guide, 2010

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Hyperion Organ Music - CDA67713


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