When I reviewed the first volume
of this important series, I conceded that I was not familiar with the ‘organ’
section of Charles Villiers Stanford’s catalogue. Since then, I have had the
pleasure of exploring three further instalments of Daniel Cook’s survey of the
composer’s ‘complete organ works.’ The more I hear, the more I appreciate and
enjoy this music. The present volume has not disappointed me.
The opening number on the CD, ‘By
the sea shore’ was the first of Three Idylls, op.194 written around 1923. It is
a little tone-poem for organ that quite clearly portrays a scene dear to the
composer. This is real sea-music, complete with rolling waves and a surging
tide. The other two Idylls are entitled ‘In the Country’ and ‘The Angelus’.
Presumably they will be included on the next (final) volume.
In 1924, H.F.W. Deane & Sons published A Little Organ Book in Memory of Hubert
Parry which contained specially composed pieces by a dozen of his
contemporaries. Stanford’s chorale prelude is both moving and consoling in its
gentle rhetoric. It is based on ‘Why does azure deck the sky?’ which was
Parry’s very first published song.
The composer’s earliest published
organ work is the Prelude and Fugue in E minor dating from around 1874. It was written
whilst the 23-year-old composer was studying at Leipzig with Carl Reinecke. The
listener will notice the inspiration of J.S. Bach as well as the influence of
the more romantically-minded Joseph Rheinberger. The opening prelude is
impressive in its sometimes powerful, occasionally wistful, mood of
fantasy. Jeremy Dibble, in the liner
notes, points out that Stanford has produced a text-book fugue making use of a
variety of formal procedures ‘as if [he] had something to prove in terms of his
technique.’ For a ‘prentice work it is simply stunning.
The principal work on this CD is
the Organ Sonata No.5 in A major, op.159 (1918). It is subtitled ‘Quasi una
Fantasia.’ This was the last of a cycle of remarkable examples in this
form. The sonata is conceived in three
movements; they are played without a break.
Stanford has made considerable use of his own hymn-tune ‘Engelberg’
which was composed for William Walsham How’s ‘For all the Saints’. This tune
appears in various guises in the first and last movements. The middle section
is a delightful intermezzo, which I think is one of the most magical things
Stanford composed. There is something of the ‘horns of Elfland, faintly blowing’
about it.
The listener is never in doubt
about skilfully tailored passage work for the organ and the obvious technical
difficulty for the soloist. Some critics
(e.g. Fuller-Maitland) have noted that sometimes the invention seems to ‘flag a
little’ and that there are ‘occasional dull passages,’ Peter Hardwick has
suggested that it ‘shows much industry, but little inspiration.’ In all
honesty, I do not feel that this sentiment applies to this sonata.
The Four Intermezzos, op.189 were
composed after Stanford had retired from his position at the Royal College of
Music. By this time, he was short of money. Jeremy Dibble reminds the listener
that, at this date, there was little demand for Stanford’s large-scale works,
which were deemed ‘old-fashioned.’ He therefore turned to writing miniatures
for organ, piano, violin and vocalists. These Intermezzi are to certain extent
pot-boilers for the organ loft. They display a considerable range of moods:
from the gentle ‘pastorale’ setting of the first, by way of a dramatic and
powerful ‘heroic’ march, a sentimental (but quite delightful) lullaby and
concluding with a short and thoughtful intermezzo built on the ubiquitous
‘Londonderry Air’. These pieces were designed be used at recitals, church and
cathedral services and for teaching purposes: they could well take on that role
today.
The last work on this disc is the
Installation March, op.108 which was composed in 1908. It was originally
written for military band and played at the Installation of Lord Rayleigh as
Vice-Chancellor of Cambridge University. It was subsequently arranged for organ
solo. The march makes use of the Cambridge Chimes (G-E flat-F-B flat) as well
as material derived from the composer’s incidental music to Aeschylus’
play The Eumenides (1885). It is
an impressive, long (at over 10 minutes) march with a hugely contrasting trio
section.
Daniel Cook is presently Sub
Organist at Westminster Abbey. Prior to this appointment he was Organist and
Choir Master at St David’s Cathedral in Wales. He is artistic director of the
Mousai Singers. In recent years, Cook has issued a wide variety of CDs
including notable and acclaimed surveys of organ music by Herbert Brewer,
Herbert Sumsion, Walter Alcock and George Dyson.
The liner notes are written by
the Stanford (and many other subjects) authority Jeremy Dibble and gives all
the information required for enjoyment and understanding of this music. The
insert also includes a specification of the superb four manual Harrison and
Harrison organ installed in 1937 at the Abbey.
As with all the discs in this
Stanford cycle the sound quality is ideal. The listener can shut their eyes and
imagine being present in the great Westminster Abbey, hearing this fine music
played on a splendid instrument. No better compliment can be paid.
I understand that there will be
one further volume in this series of ‘Stanford’s Complete Organ Music’: I look
forward to this with considerable impatience.
Track Listing:
Charles Villiers
STANFORD (1852-1924)
Three Idylls, op.194: No.1 By the sea shore (c.1923)
Chorale Prelude (Little Organ Book) (pub.1924)
Prelude and Fugue in E minor (c.1874)
Sonata No.5 in A major, op.159 (1918)
Four Intermezzi, op.189 No.1 Pastorale, No.2 Marcia Eroica,
No.3 Hush Song, No.4 Intermezzo on an Irish Air (1923)
Installation March, op.108 (1908)
Daniel Cook (organ)
PRIORY PRCD 1161
With thanks to MusicWeb International where this review was first published.
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