This is a compilation of thirteen pieces, played on eleven cathedral organs by nine different organists, recorded between 1973 and 2005. It is a satisfactory balance of arrangements, originals, and warhorses.
First up is Giacomo Meyerbeer’s Coronation March from his opera Le prophète, dating from 1849, in an unspecified arrangement, which may be W T Best’s. David Hill certainly brings out its celebratory and majestic nature on the Henry Willis III organ at Westminster Cathedral.
I do not think that Herbert
Fricker’s arrangement of Sibelius’s pot-boiler Finlandia works well. It
has nothing to do with Hill or the splendid instrument in Winchester Cathedral.
For me much of the transcription is muddy and growly. On the other hand, Noel
Rawsthorne’s performance of Sousa’s Stars and Stripes Forever (1896) is
a bit of fun, with the organ of Coventry Cathedral sounding like a cross
between a Wurlitzer and a fairground organ. I do not think that Eric Fenby’s 1934
transcription of Fred. Delius’s Cuckoo in Spring (1912) is ideal on the
organ. I am not sure what the avowed atheist would have thought about his music
being played by David Halls in Salisbury Cathedral.
More appropriate to liturgical practice is William Mathias’s “spiky yet avuncular” Processional performed by Roy Massey at Hereford. Originally written for Modern Organ Music published by OUP in 1965, it has retained its popularity over the last 60 years. Equally exciting is Theodore Dubois’s vibrant and energetic Toccata in G dating from 1886. It was originally published in Douze Pièces. Francis Jackson gives a sparkling and dexterous performance on York Minster organ.
No organ recital is complete without Bach. Here Stephen Cleobury gives a thoughtful account of the uplifting Christmas composition, In dulci jubilo BWV 608 from the Orgelbüchlein. The organ at Kings College Chapel allows for a good balance between the joyful chorale theme and intricate accompaniment.
Malcolm Archer gives a splendid performance of Louis Vierne’s ever popular Carillon de Longpont from the 24 Pièces en style libre, Book 2 (1913) on the organ of Wells Cathedral. Of interest, it was based on the notes of the four-bell peal in the chapel tower of the Château de Longpont (Aisne).
Three works from Liverpool Cathedral played by Noel Rawsthorne follow. Marc-Antonie Charpentier’s Te Deum Prelude is given an uplifting performance. The track listing does not let on that this is from the Te Deum in D major, H.146 (c.1692). The next number from the ‘Pool is Italian born Pietro Yon’s Humoresque ‘L’organo primitivo’ from his collection of Twelve Divertimenti (1915) for the organ. It is light-hearted and mimics the sound of an ancient organ with a modern twist. The last work from the ‘World Capital of Pop’ is Vierne’s Symphony No.1: Finale (1895-98) which is his best-known piece. Full of complex figurations and a powerful pedal part it provides a dramatic conclusion to the Symphony. It is given a “bring the house down” performance here.
The final work on this compilation is Julius Reubke’s monumental Sonata on the 94th Psalm. Inspired by the biblical text calling for God’s justice against evil, affirming His omnipotence it offers consolation to the righteous amid hard times. It is presented in three contrasting movements reflecting the psalm’s themes of divine vengeance and solace. It was completed in 1857 but sounds timeless. Along with some of Liszt’s organ music, it is seen as the zenith of Romantic organ literature. This technically demanding piece is given a powerful and satisfying performance by Catherine Ennis on the organ of St Giles Cathedral, Edinburgh.
I cannot fault the repertoire or the recording on this disc. However, the documentation leaves much to be desired. Only the surnames of the composers are given. Their dates are not printed. Neither are the dates of each composition. There is no mention of the music in the liner notes, only brief discussions of the organs, the performers, and the venues. No recording details are given for each piece. Surely all this information was available to the compilers of this CD. I have added some of this information in the body of my review where possible. To be sure, I did not expect full organ specifications for each venue!
The concept of this disc is great. I hope that more volumes of this excellent repertoire will emerge from Alto Records.
Track Listing:Giacomo Meyerbeer (1791-1864)
Coronation March (1849)
Westminster Cathedral/David Hill
Jean Sibelius (1865-1957)
Finlandia (1899/1907) arr. Herbert Fricker (1868-1943)
Winchester Cathedral/David Hill
John Philip Sousa (1854-1932)
Stars and Stripes Forever (1896)
Coventry Cathedral/Noel Rawsthorne
Frederick Delius (1862-1934)
On Hearing the First Cuckoo in Spring (1912/1934) arr. Eric Fenby (1906-97)
Salisbury Cathedral/David Halls
William Mathias (1934-92)
Processional (1965)
Hereford Cathedral/Roy Massey
Théodore Dubois (1837-1924)
Toccata in G (1886)
York Minster/Francis Jackson
Johann Sebastian Bach (1685-1750)
In dulci jubilo BWV 608 (c.1708-17)
Kings College Chapel, Cambridge/Stephen Cleobury
Louis Vierne (1870-1937)
Carillon de Longpont from Vingt-quatre pièces en style libre, Book 2 (1913)
Wells Cathedral/Malcolm Archer
Marc-Antoine Charpentier (1643-1704)
Te Deum Prelude (c.1692)
Pietro Yon (1886-1943)
Humoresque (Toccatina for Flutes) (1918)
Louis Vierne
Symphony No.1: Finale (1895-98)
Liverpool Anglican Cathedral/Noel Rawsthorne
Johann Sebastian Bach
Jesu Joy of Man’s Desiring (1716/?) arr. Timothy Farrell
Westminster Abbey/Timothy Farrell
Julius Reubke (1834-58)
Sonata on the 94th Psalm (1857)
St Giles Cathedral, Edinburgh/Catherine Ennis
rec. 1973-2005.
Alto ALC 1489
What a delightful compilation of organ pieces; each piece brings its own unique flavor and character, masterfully highlighted by the organists.
ReplyDeleteIt's fascinating to see how each instrument's distinctive sound contributes to the overall texture of the music, from the rich, resonant tones of the Westminster Cathedral organ to the vibrant and dynamic sounds of the Liverpool Cathedral organ. Your detailed descriptions and insights into each performance truly bring these recordings to life, and your additional information on composers and pieces fills in some of the gaps left by the liner notes.
I wholeheartedly agree that more volumes of this excellent repertoire would be a welcome addition. This is such a versatile and powerful instrument, capable of conveying a wide range of emotions and atmospheres. This compilation beautifully captures that diversity, making it a must-have for any organ music enthusiast. Thank you for your thoughtful and thorough review—it's clear you have a deep appreciation for the art of organ music.
Great post, John; keep them coming!
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