This CD is reissued by ArkivMusic.
Notes and Editorial Reviews
This is Gillian Weir at her best — bewitching, taking full opportunity of the extraordinary variety within the music to ring fascinating changes of registration while still having an aristocratic poise and restraint.
This is Gillian Weir at her best. Her account of the second prelude of Bruhns, which opens the first side, is bewitching. She takes full opportunity of the extraordinary variety within the piece to ring fascinating changes of registration. Nikolaus Bruhns, who died in 1697 at the age of 32, has many of Buxtehude's qualities as well as an appreciation of the fantastic which is all his own, and of which this prelude is an outstanding example. No one at any period has produced a composition for the organ more
individual than this, and interesting with it. The other two preludes are quite different. The E minor Prelude, No. 3, starts with a cliff-hanging pedal solo, here played at a daring lick, and continues with the sort of echo tricks which Sweelinck started a fashion for, a fugue, and a final touch of free fantasy. The G major Prelude, No. 1, is another extended work (Toccata-fugue-interlude-fugue-toccata) but more close-knit than No. 2 in E minor. These works contain examples of that delightful use of the repeated-note pattern, which is one of the characteristic North German dodges. The chorale-fantasia on Nun komm, der Heiden Hetland contains many twists and turns and tonal conjuring tricks of a kind which must have compensated for some of the the less-agreeable aspects of church-going in those cold parts.
-- Gramophone [11/1980, reviewing the Bruhns works]
[C]ompared to many of her illustrious colleagues, Gillian Weir's discography is a modest one, and it is only with her recent and highly regarded recordings of the complete oeuvres of Franck and Messiaen that the balance has been partly redressed. Nevertheless, it is a joy to see a return to the catalogue of repertoire upon which Weir has set her own indelible and authoritative stamp, notably music of the French Classical tradition, represented here by Clerambault... There is an aristocratic poise and restraint which illuminates Weir's readings of Clerambault's two Suites, redolent of courtly airs and graces and highly-stylised dances. Even though much of this music wears a solemn expression on its face, Weir never lets it fall into a turgid procession, providing a judicious balance of lightness within the duos and trios and broader phrasing in the grander 'plein jeu' movements.
-- BBC Music Magazine [reviewing the Clérambault works]
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