The organ’s case, which is a
reimagining of Julian Bicknell’s earlier work for the Mander organ, sits
elegantly in the south gallery, while the console allows direct engagement with
the choir and congregation. Funded by a bequest from Anthony Smith CBE, the instrument
was inaugurated by former Magdalen organ scholars. It now serves as a focal
point for worship and recital.
The recital opens with a dark, melancholic offering by Franz Liszt. Originally written for piano, Funérailles (Funeral) is the seventh number in Liszt's Harmonies poétiques et religieuses which was a collection of ten-character studies inspired by the gloomier aspects of death and religion. Funérailles dates from 1849 and commemorates the casualties of the Hungarian Revolution of 1848 and majors on themes of pain, and suffering. This transcription for organ, was made by Jeanne Demessieux. It is an arduous piece, although there are some remarkable moments especially the moving funeral dirge and the triumphant march.
Next up is Liszt’s arrangement of the hackneyed Pilgrims Chorus from Richard Wagner’s 1845 opera, Tannhäuser. It evokes solemn devotion and rising hope, symbolising the hero’s longing for grace, through its steady rhythm and sacred harmonies.
The liner notes explain that Carl Reinecke’s Organ Sonata in G minor, op. 284 has echoes of Felix Mendelssohn especially in the beautiful middle section, which is a nod to the elder man’s Lieder ohne Worte. There is considerable interest in the first and last movements, with a glorious conclusion expounding the chorale theme, Wie schön leuchtet der Morgenstern (How brightly shies the morning star). There is no consensus as to when the Sonata was completed, although judging by the opus number it is late in Reinecke’s life. Sadly, Reinecke’s achievement is forgotten, yet his contribution to his art was considerable, through his post as composition teacher at the Leipzig Conservatoire. His pupils included Edvard Grieg, Max Bruch, Ferrucio Busoni and Charles Villers Stanford.
Ethel Smyth’s Prelude & Fugue on ‘O Traurigkeit, O Herzeleid’ (O Sadness, O Heartache) was written when she was in her mid ‘twenties. It is the fifth and final number of her Short Choral Preludes (1882-84). From the opening Prelude meditating on Good Friday, which would make a lovely introit, to the considerable Fugue, with its dramatic middle section and ruminative close, this is a gem.
Sigfrid Karg-Elert was a German composer who wrote in a wide variety of genres but is recalled nowadays for his expressive organ works. Influenced by Debussy and Scriabin, he fused chromaticism and Impressionism with Baroque polyphony. The atmospheric The Reed-grown Waters is taken from his Seven Pastels from the Lake of Constance (c.1920). It calls for innovative registrations and a sensitive evocation of mystery. Listen out for the cuckoo…
Talking of that avian friend, Eric Fenby’s winning transcription of Fred. Delius’s best loved tone poem, On Hearing the First Cuckoo in Spring, is always a rare treat. Not sure I would use this ideal illustration of pantheist nature worship during liturgical services, though…
Percy Whitlock is well-loved by organ buffs. His impressionistic Carol (Four Extemporisations, No. 1) dating form 1933, has hat-tips to Delius and includes yet another brief appearance of the cuckoo. Malcolm Riley has noted its “Delian characteristic [including] pervasive chromatic voice leading, the use of the false relation and a wide-ranging meandering melody.”
I am not sure about Percy Grainger’s The Immovable Do (1933-1941) in this arrangement for organ by the man himself. It certainly sounds impressive at times, but not suitable for Evensong! It is an interesting “sonic experiment” which is part meditation and part technical warhorse. At its heart lies a single sustained pitch (doh/C), held (by a jammed down pencil in the keys) throughout the entire piece. This tonal anchor is secure while the surrounding harmonies shift and evolve: a symbol of stability amid change.
Peter Warlock’s Folk-Song Preludes is yet another transcription, this time by the present soloist, Alexander Pott. Originally written for piano around the end of the First World War, this collection of miniatures reimagines five traditional Celtic melodies, and provides them with subtle harmonies and finesse. The liner notes supply titles of the “found” tunes (where known). They are lovely, short pastoral evocations, which may be just too brief. Their overall mood is one of melancholy and introspection.
The final work on this imaginative disc is Ernest Austin’s Organ Sonata in G major (c.1935). Austin had a wide-ranging career, including as a baritone singer, an organist and as artistic director of the short lived British National Opera Company. He was also a professor of singing at the Royal Academy of Music. Recording projects over the past thirty years have seen editions of his Symphony in E minor, the Symphonic Rhapsody “Spring,” the cello sonata and the Overture: Sea Venturers.
Austin’s Organ Sonata was
dedicated to Percy Whitlock; however, it is not known whether it was played by
the dedicatee. It is in a single movement, written, I guess as a Sonata-Rondo.
Certainly, there is a powerful recurring theme, interspersed with vibrant dance
episodes and the occasional meditation. There are nods towards Whitlock. The
liner notes explain that the first modern performance was given by Charles
Matthews in 2022. This disc gives the work’s premiere recording. I hope that it
gains traction in the organ loft, as it is a worthy piece.
Alexander Pott is a British organist, conductor, and scholar. His early training began as a chorister at Westminster Abbey, followed by organ studies at Christ Church, Oxford, and Westminster Cathedral. He later served as Assistant Organist and Tutor to the Choristers at Magdalen College, Oxford, where he played a key role in celebrating the installation of the new Eule organ - including performing the complete organ works of J. S. Bach over two terms, raising over £10,000 for charity. Pott is also the founder and director of The Delius Singers, a choir dedicated to exploring overlooked choral repertoire from the 19th and 20th centuries. His academic endeavour focuses on the music of Frederick Delius, the subject of his PhD at Cambridge.
The liner notes give a decent introduction to the recital. It would have been helpful to the listener if the dates of all the compositions/transcriptions had been given. There is a resume of the organist and a succinct history of the instrument. The all-important organ specification is included. The schematic diagram of the console and the stop arrangement is illegible.
This disc offers a satisfying portrait of the recent Eule organ’s expressive breadth and tonal sophistication. It presents a programme that is by turns solemn, whimsical, and richly evocative. Alexander Pott’s thoughtful programming and assured playing illuminate the instrument’s capacity to honour tradition and embrace innovation - from Liszt’s brooding grandeur to Whitlock’s pastoral charm. Though a Baroque inclusion might have rounded out the recital’s stylistic range, the disc nonetheless establishes Magdalen’s renewed musical vision.
Track Listing:Franz Liszt (1811-86) arr. Jeanne Demessieux (1921-68)
Funérailles (1849)
Richard Wagner (1813-83) arr. Franz Liszt
Pilgrims' Chorus from Tannhäuser (1845), S. 676ii (??)
Carl Reinecke (1824-1910)
Organ Sonata in G minor, op. 284 (?)
Ethel Smyth (1858-1944)
Prelude & Fugue on ‘O Traurigkeit, O Herzeleid’ (1882-84)
Sigfrid Karg-Elert (1877-1933)
The Reed-grown Waters from Seven Pastels from the Lake Constance (c.1920)
Frederick Delius (1862-1934) arr. Eric Fenby (1906-97)
On Hearing the First Cuckoo in Spring (1912/1934)
Percy Whitlock (1903-46)
Carol (Four Extemporisations, No. 1) (1933)
Percy Grainger (1882-1961)
The Immovable Do (1933-1941)
Peter Warlock (1894-1930) arr. Alexander Pott (?)
Folk-Song Preludes (1918/?)
Frederic Austin (1872-1952)
Organ Sonata in G major (c.1935)
Alexander Pott (organ)
rec. 28-29 December 2024, Magdalen College Oxford
Convivium Records CR109 [2CDs: 88]
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