\u201cone of the organ world\u2019s finest recording artists\u201d<\/p>\n
No. 8: Graham Barber plays the Klais Organ of Ingolstadt Minster \u2013 Priory PRCD 260 (1985 and 1988) Dupr\u00e9\u00a0Choral and Fugue<\/em>, Op.57; from Sept Pi\u00e8ces, Op.27:\u00a0Souv\u00e9nir, Carillon,\u00a0<\/em>L\u00e9gende, Final<\/em>; Demessieux\u00a0Choral Preludes on Gregorian Chant Themes<\/em>\u00a0(selection)<\/p>\n \u201cOne of the truly \u2018great\u2019 organs in the series is that at Ingolstadt Minster. These verge on being \u2018great\u2019<\/em>\u00a0performances too from one of the organ world\u2019s finest recording artists, Graham Barber, and it is good<\/em>\u00a0that what was originally a magnificent LP has turned out an outstanding (not to say \u2018great\u2019) CD. This<\/em>\u00a0sumptuous instrument, the sheer brilliance of Barber\u2019s playing, and an imaginative programme of Demessieux and Dupr\u00e9 are all captured in a splendidly engineered recording.\u201d\u00a0<\/em>\u00a0(Gramophone, May 1989)<\/p>\n No. 25: Graham Barber plays the Harrison and Harrison organ of Coventry Cathedral – Priory PRCD 373 (1991) Karg-Elert\u00a0Symphony in F sharp minor<\/em>, Op.143; Jackson\u00a0Third Sonata<\/em>, Op.50; Sowerby\u00a0Pageant of\u00a0<\/em>Autumn<\/em><\/p>\n \u201c\u2026This is a programme which depends very heavily on delicate colours and clarity of detail and I, for one,<\/em>\u00a0would be hard-pushed to suggest a more suitable instrument or a better player\u2026Barber\u2019s intense musical playing and complete technical mastery give us a performance of unquestionable authority and conviction\u2026Barber\u2019s wonderfully agile and precise fingerwork and his handling of the timing and complexities of the score are an object lesson in making the difficult sound easy.\u201d<\/em>\u00a0\u00a0(Gramophone, March 1992)<\/p>\n No. 30: Graham Barber plays the Klais Organ of Altenberg Cathedral , Priory PRCD 315 (Reger\u00a0Chorale Fantasy “Wie sch\u00f6n leucht’ uns der Morgenstern<\/em>, Op.40, No.1; J.S.Bach\u00a0Sonata No.5 in C major<\/em>, BWV 529; Karg-Elert\u00a0Stimmen der Nacht<\/em>, Op.142, No.1; Karg-Elert (first recordings)\u00a0Funerale<\/em>, and Chorale Improvisations on\u00a0In Dulci Jubilo<\/em>,\u00a0Der H\u00f6lle Pforten ist zerst\u00f6rt<\/em>\u00a0and\u00a0Gelobt sei Gott im h\u00f6chsten Thron<\/em>, Op.75, Nos 1- 4)<\/p>\n \u201cIf any doubt could ever be voiced about Graham Barber\u2019s plentiful musicianship and virtuosity, this disc should silence the critic for ever. The very lucidity, crystalline clarity, forward momentum and powerful command of Barber\u2019s Reger match any competition \u2013 that\u2019s a promise. But Graham Barber adds a lavish measure of contrast in this program, including the quiet impressions of Karg-Elert\u2026\u201d<\/em>\u00a0\u00a0(American Organist, February 1995)<\/p>\n No. 46: Graham Barber plays the Christian M\u00fcller Organ of the Jacobijnerkirche, Leeuwarden, Holland – Priory PRCD 520 (1999): J.S.Bach\u00a0Fantasia and Fugue in A minor, BWV 904<\/em>; A.van Noordt\u00a0Psalm 24<\/em>; Georg B\u00f6hm\u00a0Aus tiefer Not schrei ich zu dir<\/em>;\u00a0Freu dich sehr, o meine Seele<\/em>;\u00a0Prelude, Fugue and Postlude<\/em>; D.Buxtehude\u00a0Canzonetta in G major, BuxWV 172<\/em>;\u00a0Ciacona in E minor, BuxWV 160<\/em>;\u00a0Praeludium in E, BuxWV 142<\/em>; J.C.Altnikol\u00a0Ricercar in C major<\/em>;Sei Lob und Her dem h\u00f6chsten Gut<\/em>;\u00a0Gelobet Seist du, Jesu Christ<\/em>; J.L.Krebs\u00a0Toccata and Fugue in A minor The Organ Music of Herbert Howells (Volume 2): Graham Barber plays the Organ of Hereford Cathedral \u2013 Priory PRCD 524 (1996)\u00a0Sonata for Organ<\/em>\u00a0(1933);\u00a0Six Pieces for Organ\u00a0<\/em>(1940-5):\u00a0Preludio “Sine<\/em>\u00a0Nomine”<\/em>;\u00a0Saraband (For the morning of Easter)<\/em>;\u00a0Master Tallis’ Testament<\/em>;\u00a0Fugue, Chorale and Epilogue<\/em>;\u00a0Saraband (In Modo Elegiaco)<\/em>;\u00a0Paean<\/em><\/p>\n \u201cGraham Barber\u2019s affinity for Howells is immediately apparent in his persuasive playing. He illuminates<\/em>\u00a0the rather dense textures of the 1933 Sonata … the final movement being particularly exciting\u2026In [the Six<\/em>\u00a0Pieces] the glorious Hereford organ really comes into its own\u2026this is exploited with great musicianship by<\/em>\u00a0Graham Barber in a record of Howells the equal of which you will not have heard before.\u201d\u00a0<\/em>\u00a0(Organists\u2019 Review, February 1997)<\/p>\n Volume 2: Graham Barber plays the Organ of Hereford Cathedral – Priory PRCD 525 (1996) (arr.Riley)\u00a0March: Dignity and Impudence<\/em>;\u00a0Seven Sketches on Verses from the Psalms<\/em>;\u00a0Fantasie Choral No.1 in D flat\u00a0<\/em>major<\/em>;\u00a0Reflections: Three Quiet Pieces<\/em>;\u00a0Fantasie Choral No.2 in F sharp minor<\/em><\/p>\n \u201c\u2026Graham Barber plays with utter commitment and an ear for nicely-shaded colour. His underlying sense<\/em>\u00a0of rhythm ensures that Whitlock\u2019s essential pulse is never lost beneath expressive phrasing\u2026A better organ<\/em>\u00a0or acoustic for this music would be hard to imagine, and with Graham Barber no-one could wish for a\u00a0<\/em>finer advocate\u2026\u201d\u00a0<\/em>\u00a0<\/em>(Organists\u2019 Review, February 1998)<\/p>\n JERUSALEM ON HIGH<\/em>\u00a0Victorian Voluntaries and Concert Pieces based on hymns, chorales and psalm-tunes \u2013 Hyperion CDA 67356 (2003): F.Mendelssohn-Bartholdy (arr. W.T.Best)\u00a0Overture to the Oratorio \u2018St Paul\u2019<\/em>; E.SilasFantasia on St.Ann\u2019s Hymn, Op.93<\/em>; G.A.Macfarren\u00a0Variations on the Psalm Tune \u2018Windsor\u2019<\/em>; O.King\u00a0Prelude for Lent, Op 10 No 2<\/em>; William Spark\u00a0The Ancient Vesper Hymn (Theme, Variations and Fugue)<\/em>; C.Steggall\u00a0Postlude (\u2018Jerusalem on High\u2019)<\/em>; C.W.Pearce\u00a0Creator of the Starry Height Op 25 No 1<\/em>;\u00a0Corde natus ex parentis (Of the Father sole begotten), a Symphonic Poem, Op.27<\/em><\/p>\n \u201ca worthy celebration of the British organ tradition \u2026 rich, clear recordings\u201d<\/em>\u00a0\u00a0(Gramophone, 2004)<\/p>\n","protected":false},"excerpt":{"rendered":" \u201cone of the organ world\u2019s finest recording artists\u201d From Priory\u2019s GREAT EUROPEAN ORGANS SERIES No. 8: Graham Barber plays the Klais Organ of Ingolstadt Minster \u2013 Priory PRCD 260 (1985 and 1988) Dupr\u00e9\u00a0Choral and Fugue, Op.57; from Sept Pi\u00e8ces, Op.27:\u00a0Souv\u00e9nir, Carillon,\u00a0L\u00e9gende, Final; Demessieux\u00a0Choral Preludes on Gregorian Chant Themes\u00a0(selection) \u201cOne of the truly \u2018great\u2019 organs in […]<\/p>\n","protected":false},"author":94,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ep_exclude_from_search":false},"yoast_head":"\n
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\n\u201cThe older brother (by ten years) of the famous M\u00fcller at St. Bavo, Harlaam\u2026boasts many distinctive qualities\u2026Graham Barber guides us through these\u2026in precise, immaculately tailored performances. I find myself time and again referring to the registration details painstakingly mapped out in the booklet against the sumptuous sounds Barber reveals: my personal favourite is the delightful registration crowned by the Vox Humana (for B\u00f6hm\u2019s Aus tiefer Not) which sounds for all the world like the purring of a contented cat\u2026\u201d\u00a0<\/em>\u00a0(Gramophone, August 1998)<\/p>\nGraham Barber\u2019s recording of the music of HERBERT HOWELLS<\/h1>\n
Graham Barber\u2019s recording of The COMPLETE ORGAN WORKS OF PERCY WHITLOCK<\/h1>\n
Graham Barber\u2019s recent recording for HYPERION<\/h1>\n