This imaginative programme from
Southwell Minster begins with Philip Marshall’s Prelude and Chaconne which dates
from 1963. It was written at the instigation of Francis Jackson of York
Minster, and was dedicated to him. It was first performed at the re-dedication
of the organ at Ripon Cathedral by Jackson. It is very much a work of its time
and is none the worse for that. The
liner notes emphasise the rhapsodic Prelude with opening fanfares which
gradually subside to the start of the second part of the piece. This Chaconne
has15 variations and makes use of the BACH motif. Marshall exploits a wide range of
registrations in each of the variations. This is a complex, virtuosic piece
that ought to be heard more often.
George Thomas Francis died in
1946: his birthdate is not given. Francis’ musical career included time at
Wigan and Leeds Parish Churches and York Minster. In 1929 he was appointed
organist at Southwell Minster. The Lament was composed in 1942 and was
dedicated to Sir Edward Bairstow, then organist at York Minster. It is a little bit of a chromatic meander,
although it has some lovely musical moments.
I have always had a sneaking
preference for absolute music composed for the organ: I think of the
‘Symphonies’ of Vierne, Guilmant and Widor. Then there are the Sonatas by
Howells, Hindemith and Harwood et al. The present Sonata by Surrey-born
composer Robert Ashfield (1911-2006) was written in 1956 at the time when he
moved from Rector Chori (Organist and Musical Director) at Southwell to
Rochester Cathedral. The work is in
three contrasting movements: Allegro moderato, Intermezzo, and Rondo (allegro
giocoso). It is a well-designed Sonata that explores a variety of
then-contemporary musical styles. There are nods to jazz, Herbert Howells,
‘angular melodies’, a palette of wide degrees of dissonance and complex
rhythms. The general impression is of balance, poise and technical assurance.
Neil Cox’s ‘Four Ikons of the
Archangels’ was composed in 2013 and was premiered by Daniel Cook at
Westminster Cathedral on 21 July of that year. This is (I understand) the
work’s premiere commercial recording. The inspiration is the ‘traditional
iconography of the Archangels. Each movement or ‘Ikon’ is based on the same
‘strange 4-note motif’ presented in a wide variety of ways from the first to
the last page of the score. The four
Archangels are Gabriel, Michael, Raphael and Uriel. Their particular attributes
are Herald of the Mysteries of God, Vanquisher of Satan, the Healing Power of
God and the Interpreters of Prophecies respectively. This big, commanding piece
is on a par with Messiaen’s great liturgical organ works. The musical language
is slightly more conventional. As I listened, I was reminded (mood if not
musical language) of Vaughan Williams’ ballet Job. So perhaps RVW meets Messiaen? It is a masterpiece, whatever
the influences.
The Three Pieces for Organ by
Eric Thiman were published in 1955. The first is ‘Meditation on the Hymn Tune
‘Slane’’ which is used for the St Patrick’s great words ‘Be thou my vision’.
The piece is in arch form with a strong climax followed by a quiet conclusion.
His use of the tune involves fragments rather than direct quotation. The second piece is a Pavane which is a
well-written pastiche of the 16th/17th century dance. It
would make a fine voluntary for Evensong. The final Postlude is a ‘rousing’
‘Alla Marcia’ with an introspective middle section. Thiman had produced here
three valuable and interesting pieces for ‘everyday’ use in church or
cathedral.
Robert Busiakiewicz’s Epitaph:
After Donald Crowhurst was commissioned for the present recording and completed
in 2014. The work is programmatic and is based on Donald Crowhurst’s ill-fated
attempt at winning the Sunday Times Golden Globe Race (1968), a non-stop race
to circumnavigate the world. Crowhurst falsified his log entries and Morse code
signals in order to try to win the race. He ended up drowning: the boat was
found drifting in the Atlantic. The liner notes suggest that influences include
Kaikhosru Sorabji, Jean-Louis Florentz and Olivier Messiaen.
If I am truly honest, I believe
that Busiakiewicz could/should have dumped the programme, called the work just
‘Epitaph’ and still have produced a stunning and absorbing piece of ‘absolute’
music.
Arthur Wills, long-time Director
of Music at Ely Cathedral (1958-93) has written a wide range of music, nevertheless
he is best known for his organ works. The
Introduction and Allegro was composed in 1961 and was dedicated to his
wife. In his autobiography the composer
has noted the clear French influence of Messiaen and Vierne in this music.
Surprisingly, there appears to be
only one other version of this powerful piece in the current CD catalogue which
is the composer’s own 1967 recording made at Ely Cathedral. Other works
included on that record were Messiaen’s ‘La Nativité’, Vierne’s ‘Naïades’ and
Dupre’s Variations sur un Noël for organ. It is not hard to see the musical
connection, although Wills’ piece is a valuable essay in its own right.
The liner notes by Paul Hale are
excellent, and I acknowledge relying on them heavily in writing this review. Each
composer is given a brief introduction along with concise notes about the
music. There is an essay discussing the organs of Southwell Minster as well as
the all-important organ specification. In this recording they have used the
Quire Organ built by Nicolson of Great Malvern and commissioned in 1996. There
is a short biography of the organist Simon Hogan who is currently Assistant
Director of Music at Southwell Minster.
This excellent programme of 20th/21st century British works is played on an outstanding instrument and is superbly recorded. The organist, plays all this music with sympathy and obvious technical rigour. Many of these works were new to me, however they are all impressive and lie in the trajectory of the very best of British Cathedral organ music.
This excellent programme of 20th/21st century British works is played on an outstanding instrument and is superbly recorded. The organist, plays all this music with sympathy and obvious technical rigour. Many of these works were new to me, however they are all impressive and lie in the trajectory of the very best of British Cathedral organ music.
Track Listing:
Philip MARSHALL (1921-2005)
Prelude and Chaconne (1963)
George Thomas FRANCIS
(d.1946) Lament (1942)
Robert ASHFIELD (1911-2006)
Sonata for Organ (1956)
Neil COX (b.1955)
Four Ikons of the Archangels (2013)
Eric THIMAN (1900-1975)
Three Pieces for Organ (1955)
Robert BUSIAKIEWICZ
(b.1990) Epitaph: After Donald Crowhurst (2014)
Arthur WILLS (b.1926)
Introduction and Allegro (1961)
Simon Hogan (organ)
PRIORY PRCD 1147
With thanks to MusicWeb International where this review was first published.
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