Part of the 2018 Exeter Cathedral Organ Recital Series.
Toccata Giocosa -Hans André Stamm (b.1958)
Prelude and Fugue on B.A.C.H. (first version of 1855) – Franz Liszt (1811-1886)
Andante in G major with 5 Variations [K501] (arranged by David Nield)- W.A. Mozart (1756-1791)
Sonata on the 94th Psalm – Julius Reubke (1834-1858)
Adagio in F major – Ludwig van Beethoven (1770-1827)
Grand March from Aïda (arranged by Edwin Lemare and Christopher Herrick – Giuseppe Verdi (1813-1901)
Litanies – Jehan Alain (1911-1940)
Festmusikk (from Våg å leve) Mons Leidvin Takle (b.1942)
Tickets £7 adults, £5 students, under 18s FREE. Available from 01392 285983 (Monday to Friday) and online.
About Christopher Herrick
Christopher Herrick’s career as one of the world’s leading concert organists is based on firm foundations. As a boy he was a chorister at St Paul’s Cathedral, lucky to sing in the 1953 Coronation Choir and to take part in a 40-concert tour of North America later that year. He was Music Scholar at his senior school, Organ Scholar at Oxford University and Boult Scholar at the Royal College of Music in London. He was asked back as Assistant Organist to St Paul’s Cathedral and then spent ten years at Westminster Abbey, where he played for many Royal and State occasions, including the state funeral of Lord Mountbatten, the funeral service for Herbert Howells, and for both the 80th birthday concert and the funeral service for Sir William Walton.
Herrick is a musician with a powerful urge to communicate. And communicate he does, drawing on his enormous technical and intellectual resources to turn out performances which sometimes amaze, often astound, but never fail to stimulate.
In 1983 Hyperion Records, Britain’s most prestigious Classical Music label, recorded an album by him entitled ‘Organ Fireworks’ on the Westminster Abbey organ. Since then, as an exclusive Hyperion artist, he has recorded over 40 CDs, including 14 Organ Fireworks discs – ‘The strengths of this hugely enjoyable and downright spectacular series lie in consistently first-rate recordings of some of the world’s most aurally stunning instruments and in Herrick’s playing, which can only be described as unfailingly brilliant’ (Gramophone) – and the complete organ works of Bach on 16 discs – ‘Christopher Herrick and the Hyperion team deserve the warmest praise for a Bach cycle that has provided such scintillating and compelling listening’ (Gramophone).
Since 1979 his busy concert schedule has taken him all over the world, regularly to to Europe, North America, Russia, Japan, South Africa, Australia, New Zealand and Hong Kong, and he has had the privilege and the pleasure of encountering innumerable organs of every conceivable style, from exciting larger instruments to delightful smaller ones, ranging from the historic to the brand new. Now in his 70s, he intends to continue to play in great cathedrals, leading concert halls and beautiful churches with fine organs as long as he has health and strength and as long as audiences continue to appreciate his particular brand of music making.
In fact, after playing his Russian debut in 2013 in the prestigious St Petersburg White Nights Festival at the Mariinsky Theatre Concert Hall, he was immediately invited back to play a complete Bach cycle in 12 concerts during the first half of 2014.
This echoed his previous 1998 marathon at the Lincoln Center Festival in New York, that time performing Bach’s complete works in 14 concerts on 14 consecutive days in the Alice Tully Hall on the great Kuhn organ. This was rewarded with this review in the New York Times:
‘He is a virtuoso, no question. He was at the peak of his considerable form, combining precision with panache, interpretive freedom with sheer joy in virtuosity. The playing was, in a word, triumphal.’
About the organ
In 1665 local organ builder John Loosemore created what has become one of the most distinctive and striking organ cases ever built.
In over three hundred years the organ has been expanded and updated to meet the ever changing musical demands of a living Cathedral, from the expansion and raising of Loosemore’s case and the moving of the impressive 32’ pipes to the South Transept, to the creation of an entirely new section of the organ in the Minstrels’ Gallery.
Containing over 4000 pipes, the organ is played from a console of four manuals and pedals which is situated on the central ‘pulpitum’ screen.