“[These suites] have rarely been recorded or promoted by harpsichordists during the most recent revival of interest in ‘early music.’” I realize that Richard Egarr is entitled to his own opinions—his liner notes on an earlier release, for example, likened the humor in Purcell’s harpsichord music to that of the wonderful old 1950s BBC comedy The Goon Show —but he’s not entitled to his own facts. Christopher Brodersen pointed out in a 2011 review of these works featuring Laurence Cummings ( Fanfare 34:5) that ArkivMusic listed nine complete sets played on the harpsichord, with several others on the piano. I find some of the suites have considerably more recordings than that, in 2014: 26 for the Suite in A Major, 28 for the Suite in D Minor, 25 for the Suite in E Minor, 47 for the Suite in E Major. If such numbers reflect rare recordings, I have to wonder what Egarr would consider a moderate number, let alone a frequent one.
Durant des années, Edmond Paris a rassemblé une documentation considérable concernant l'histoire moderne et contemporaine. Dans ses œuvres, il se réfère à des documents émanant du Saint-Siège ainsi qu'à de nombreuses études d'auteurs appartenant à différents courants philosophiques, tant catholiques que laïques. De nombreux écrivains, y compris Rolf Hochhuth (Le Vicaire), y ont déjà trouvé une abondante source d'information. …
This recording offers an unusual selection of Dietrich Buxtehude’s vocal music performed by 2010 Grammy® Award winning ensemble Theatre of Voices conducted by Paul Hillier. Among these rarely heard works with texts in Swedish and Latin, we find cantatas in the form of virtuoso concertos, as well as arias and chorale settings and Buxtehude’s only work in the stile antico, the Missa alla brevis.
This ‘themed’ programme by Da Pacem derives from a series of concerts devoted to Bach’s infamous journey on foot to hear Buxtehude play. Did he have leave of absence from his employers? Did the four month absence change his style for ever? Buxtehude achieved a staggering synthesis of the polyphonic, numerical and rhetorical traditions of his predecessors with a very personal poetry, taking care to make his music accessible to everyone, from the specialist to the layman. It is not surprising that Bach took him as his model.
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.
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.
…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.