moyreau - douglas hollick (RVRCD60)

Douglas Hollick

Well known as an organist and harpsichordist, Douglas Hollick was the first Organ Scholar at Hull University, studying with Peter Hurford. A Countess of Munster Trust scholarship enabled him to spend a year with Marie-Claire Alain in Paris, and he also later studied with Gustav Leonhardt in Amsterdam. He teaches in Cambridge, at Hull University and at the Birmingham Conservatoire, and has given masterclasses frequently in the UK and elsewhere in Europe.

He has played widely both here and abroad, including Westminster Abbey, St John’s Smith Square and St Paul’s Cathedral in London, the 1750 Silbermann organ in Dresden, the 1991 Prague Early Music Festival, and in Melbourne, Sydney, and the Fremantle Bach Festival in Australia. More recent concerts have included further visits to the Czech Republic (with a recording for Czech Radio), Slovakia and Germany, Trinity, Clare and St Catharine’s Colleges Cambridge, Southwell Minster and Coventry Cathedral. The last few years have seen him playing fortepiano as well as organ and harpsichord, and in September 1999 he played an organ and fortepiano recital in the Dolní Lukavice Haydn Festival in Bohemia.

In 1995 he recorded an organ CD entitled The Young Bach for Supraphon in the Czech Republic which has attracted very favourable comment from the musical press. Douglas Hollick was awarded a year 2000 Churchill Fellowship to visit North Germany and Denmark during August/September 2000 to research the organs and other keyboard instruments from the period of Buxtehude and the young J S Bach. This has given new impetus to his ongoing research into questions of performance practices in the 17th and 18th centuries, and a CD recording in Buxtehude’s church in Helsingør is already planned.

For 15 years up until 1990 Douglas Hollick was also a well known maker of early keyboard instruments, balancing the demands of concert and craft, and the harpsichord on this recording is one of the last made. It was specially produced for Douglas’ own concert work, and in this role it has traveled many thousands of miles. A combination of the late 1980s recession and a desire to do much more playing, teaching and research persuaded him to give up the workshop as a commercial venture, although he still does a small amount of mainly restoration work.

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