Durham Cathedral: Wednesday 18th August 2010, Matthew Martin

Durham Cathedral
Wednesday 18th August 2010
Matthew Martin: Assistant Master of Music, Westminster Cathedral

The Programme

• Epiphanie. Gaston Litaize (1909-1991)
• Elegy (Symphony in G minor). Percy Whitlock (1903-1946)
• Grand Dialogue (1696). Louis Marchand (1669-1732)
• Trois Danses. Jehan Alain (1911-1940)
  Joies
  Deuils
  Luttes
• Chant de Paix and Chant heroique. Jean Langlais (1907-1991)
  (in memoriam Jehan Alain) (Neuf Pieces)
• Corrente e Siciliano and Rigaudon alla burla (Partita in E, Op.10) Sigfrid Karg-Elert (1877-1933)
• Toccata (1991). Francis Pott (b. 1957)

Time: 19:30
Price: £8 (£6 conc.)
Attendance: Around 120
Star Rating: 3/5 ***

This recital made for a fitting end to the summer series at Durham Cathedral, delivered by the increasingly well known organist and composer, Matthew Martin. The introduction delivered by Matthew was very short and concise, but probably appropriate given that most were itching for the music to begin. The programme was varied, but of particular note towards the beginning was the Whitlock Elegy. This was so very melodic, and in places so sublime and peaceful that upon observation one could note that most people had their eyes closed, and many were slumped in their seats. Perhaps that was why he chose to place the Grand Dialogue afterwards, which most certainly woke people back up from their lullaby induced state.

The Alain Danses were rather lengthy, and needed to end when they did as a matter of certainty. However, in their jovial nature, these three movements were worth hearing, as are many such pieces from time to time. A highlight for me in the second half of the programme was the Langlais Chant heroique, which was executed with 'perfect' registration and speed, almost making the audience feel as though we weren't in the North East of England at all. In his introduction, Matthew had described the two Karg-Elert pieces towards the end of the programme as being rather unpleasant on the ear, and he wasn't wrong. In places they were discordant and frankly strange, and given he clearly knew this, perhaps the programme could have done without these, particularly as the recital on the whole was a little on the long side (an hour and twenty minutes). Nevertheless, these paved the way for the far more enjoyable Pott Toccata. Francis Pott is not an organist, but clearly writes some good music for the instrument. This made for a thrilling conclusion, making use of the magnificent Harrison Tuba stops at Durham Cathedral, and finished on a mighty chord of F sharp major. I very much enjoyed this recital, but it was perhaps a little long, and could have been equally as enjoyable if devoid of a couple of the items. On balance though, I am of course all for hearing new or rarely played music. Many thanks to Matthew for this recital and to Durham Cathedral for the organisation of another enjoyable series.

York Minster: Saturday 14th August 2010, Francis Jackson

York Minster
Saturday 14th August 2010
Francis Jackson: Organist Emeritus, York Minster

The Programme:

• Prelude and Fugue in A Minor, BWV 543, 'The Great'. JS Bach (1685-1750)
• Sonata in E flat (1937). Edward C. Bairstow (1874-1946)
  Andante serioso, ma con moto
  Allegro giocoso
  Maestoso
• Capriccio, Op.103. Francis Jackson (b.1917)
  Legend, Op. 79.
• Prelude in the form of a Toccata, Op.88, No.3. Charles Villiers Stanford (1852-1924)
• Andante in G (from Three Pieces, c.1841). Samuel Sebastian Wesley (1810-1876)
• Carillon de Westminster, Op.54, No.6. Louis Vierne (1870-1937)

Time: 19:00
Price: £8 (Season ticket available for £50, reducing the series per recital cost to £6.25)
Attendance: Around 300
Star Rating: 4/5 ****

As is the case year on year, this was a very special organ recital at York Minster. Dr Jackson is a very well regarded composer and recitalist, and naturally, his playing at York is a constant reminder of how he must have known this organ for 80 years, perhaps since he became a chorister in 1929. A fitting introduction, filled with admiration from Minster Organist John Scott Whiteley, informed us of how this was his 55th recital in the annual summer series. Frankly, it is impressive to think that at well over 90 years young Dr Jackson is able to youthfully ascend to this, or any, organ console, and THEN give a recital to a large audience that includes some major works.

The recital started with 'The Great' Bach Prelude & Fugue in A Minor, which was executed with enthusiasm and zeal. The Fugue in particular demonstrated Dr Jackson's mastery over this organ. Other highlights included Jackson's own Capriccio, which made excellent use of virtually all available types of sound from the instrument, and reached an encapsulating conclusion. The Wesley Andante Cantabile in G was most appropriate, given that it was on this day (14th August) that 200 years ago the reputable composer Samuel Sebastian Wesley was born, who was notably the great-nephew of the founder of the Methodist movement, John Wesley. This fact, amongst others could be found on the comprehensive additional programme notes, which apparently Dr Jackson had produced himself. The highlight of this recital though was the Sonata in Eb. Composed in 1937, by the then Organist of York Minster Sir Edward Bairstow, Dr Jackson first performed this in 1938 at the very organ he performed it on to us tonight, some 72 years and 4 months later. It was a piece clearly dear to Jackson's heart, and he was obviously able to perform it with immense authenticity.

Overall this was an enjoyable, and notably well attended organ recital, and despite a couple of what seemed to be misfired pistons in the final piece, was very well played and registrations were chosen very tastefully, with a clearly profound knowledge of the organ and indeed the cathedral itself, in mind.

York Minster: Saturday 7th August 2010, Simon Lindley

York Minster
Saturday 7th August 2010
Simon Lindley: Organist of Leeds Parish Church & Leeds Town Hall

The Programme

• Fanfare (1956). Francis Jackson (b.1917)
• Finale en forme d'ouverture. Alfred Hollins (1865-1942)
• Variations: Victimae Paschali laudes (2001). Alan Spedding (b.1938)
• Plymouth Suite. Percy Whitlock (1903-1946)
  Allegro risoluto
  Lantana
  Chanty
  Salix
  Toccata
• Annunciation (2000). Judith Bingham (b.1952)
• Elizabethan Serenade. Ronald Binge (1910-1979)
• Sonata in C Minor, the 94th Psalm. Julius Reubke (1834-1858)

Time: 19:00
Price: £8 (Season ticket available for £50, reducing the series per recital cost to £6.25)
Attendance: Around 100
Star Rating: 4/5 ****

This was a superb recital, and a far improvement from last Saturday. This for me marked the start of the summer series at York. We had a brief introduction from John Scott Whiteley, the Minster Organist, and despite the malfunction of the microphone, we could still hear him well! The recital was, in typical Dr Lindley fashion, filled with colour and variety, and some more contemporary pieces were thrown in for good measure.

I happened to notice that Dr Francis Jackson CBE was in the audience. Perhaps this was to hear his own 1956 Fanfare, which was played with distinction by Simon. It was a nice way to open the recital, and very appropriately applied given the setting, and was only a couple of dignified minutes in length. The Variations by Spedding, the Organist Emeritus of Beverley Minster, were a bit long for me, although I did enjoy some, particularly the final one. These were filled with variations (cunning) in colour and tonality, which were undoubtedly enjoyed by the audience, and were a real time for reflection.

There were two big pieces if you like in this programme. The first was the Whitlock Plymouth Suite. The first and last movements are really enjoyable, with a recurring theme in the pedals and are good fun for the ear. We heard the Solo division Bombarde en Chamade stop, which points east in to the quire, which was stunningly applied in the magnificent Toccata. The two pieces that followed I had never encountered before, but I enjoyed them both. The Bingham was rather abstract, but added interesting variety to the programme. The Binge Serenade was lovely, and went exactly where you wanted it to go. It was of course placed rather as a 'calm before the storm' piece!

This is because what followed was truly wonderful. The magnificent Reubke Sonata on the 94th Psalm was the jewel in the crown for this recital. Performed in this magnificent setting and acoustic there is no wonder that one falls in love with this music. It is a tragedy that Reubke died at the tender age of 24. If you read Psalm 94, it tells a wonderful story. The triumph of good over evil and the majesty of God could not be conveyed more effectively in music. Simon played this exquisitely, and made good use of the resources of the York Minster organ. The build up to the climax was truly spine chilling, and the big (well, enormous) 'cathedral rumble' on the pedals was used so well, with an effect of grandeur beyond description. The big final chords, with the addition of the huge Tuba Mirabilis that points in to the nave, made for a splendid climax. Whilst the Tuba Mirabilis cannot be heard to great effect in the quire end of the cathedral, it can certainly be heard 'coming back at you', and during the acoustic decay, with an enormous effect. Goosebumps all round, perhaps! Thanks to Simon for such a splendid recital and choosing such a wonderful programme.

Durham Cathedral: Wednesday 4th August 2010, Margaret Phillips

Durham Cathedral
Wednesday 4th August 2010
Margaret Phillips: Professor of Organ, Royal College of Music, London

Programme

• Prelude & Fugue in C major, BWV 545. JS Bach (1685-1750)
• Chorale Partita, Ach was soll ich Sunder machen, BWV 770. JS Bach (1685-1750)
• Allegro, Chorale & Fugue in D minor. Felix Mendelssohn (1809-1847)
• Andante Cantabile in G. Samuel Sebastian Wesley (1810-1876)
• Choral No 3 in A minor. Cesar Franck (1822-1890)
• Prelude & Fugue In Memoriam Maurice Durufle. Fredrik Sixten (b.1962)
• Andante, 'Choeur de Voix Humaines'. Louis Lefebure-Wely (1817-1869)
• Prelude et Danse Fuguee. Gaston Litaize (1909-1991)

Time: 19:30
Price: £8 (£6 conc.)
Attendance: About 140
Star Rating: 3/5 ***

This was an interesting recital, but one that I only partly enjoyed. The first mistake I made was not taking my programme from the previous recital by James Lancelot, as these contain all recitals, and cost £1 a go. The second mistake was to sit in the quire. The organ is FAR too loud when heard at 'full whack' from that part of the Cathedral. You are literally sandwiched between a really rather large organ in a rather small space - not great. Nevertheless, the organ was sensitively played for much of the programme, and a great variety of registration was used. Despite the penultimate piece sounding like a field full of sheep, given the extensive use of the Vox Humana stop (with a flute above it), most of the programme was very sensible.

Margaret was introduced after the usual introduction and prayer, and proceeded to give an interesting but rather brief synopsis of the pieces. To be honest, I think a lot of the audience though were more interested in her sparkly top. The Bach to open the recital was good, with a heavy duty but nicely voiced pedal reed below the manual chorus, although the Chorale Partita got extremely boring after what seemed like the 10th variation. The Wesley was a bit of a quiet reprieve after the rather grandly registered Mendelssohn beforehand, and of course was extremely fitting as in this year we celebrate the bi-centenary of Wesley's birth.

A particular highlight of this recital was the Franck Choral, which is one of my favourites. Margaret did well with making the rather English Harrison organ at Durham sound French, although the piece was played a little fast for my liking in places. The final piece is worth a mention, which was a most curious work, which seemed asthough it may have been composed as a joke! It was rather vigorous, random, and ended on the most unpleasant but somehow thrilling full organ sound the organ could have made, with the big Tubas sounding more or less next to us. This was when it became a bit too loud, and it must have been pretty loud for me to say that. Still, it was worth going to hear, although I would have preferred a little more genuine interest here and there, and to have been sat somewhere else on a more comfortable seat. [NOTE: the stalls in the quire at Durham are NOT comfortable seating].

Ripon Cathedral: Tuesday 3rd August 2010, John Scott Whiteley

Ripon Cathedral
Tuesday 3rd August 2010
John Scott Whiteley: Organist - York Minster

The Programme

• Concerto in A Minor, BWV 593. Antonio Vivaldi (1678-1741), arr. JS Bach (1685-1750)
  Allegro - Adagio - Allegro
  
• Passacaglia. John Scott Whiteley (b.1950)
• Variations on Adeste Fideles. Marcel Dupre (1886-1971), trans. Rollin Smith
• Papillons Noirs (from 13 Preludes, Op.69). Joseph Jongen (1873-1953), trans. Whiteley
• Sonata Eroica, Op94. Joseph Jongen (1873-1953)
• Imperial Echoes. Arnold Safroni (1873-1950), trans. Whiteley
• Lento & Final (from Symphonie en Improvisation). Pierre Cochereau (1924-1984), trans. Whiteley
  
  

Time: 19:30
Price: £7.50
Attendance: Around 75
Star Rating: 4.5/5 ****'

In a word, wow. I could talk about this for some time, but will try to remain concise. I should start by saying just how much I love the fine Harrison organ at Ripon - it's a stunner, and a little known gem that is capable of making some serious music, in to a better than expected acoustic. And with that in mind, it could not have been better showcased than by this recital by John Scott Whiteley, the, as the programme said, 'distinguished Organist of York Minster'. Whilst this isn't a place to produce a biography of the recitalist, it is particularly notable that John is in fact the man in the dark glasses on the popular 21st Century Bach TV series, which is apparently ongoing.

The recital in itself was one of the best I have heard at Ripon Cathedral. It is hard to pick out any particular highlights, but I must pay attention to the Passacaglia, heard as the second item, which is a recent one of Johns own compositions. John had provided detailed notes inside the programme on this piece, and it clearly reflected a number of moods and colours, in what seemed a very personal manner. It was extremely powerful as a piece of music, and I thoroughly enjoyed hearing it. The finale was truly magnificent, and finished on a really rather 'perfect' chord, which was highlighted so well by this organ.

Another piece of note was the epic Sonata Eroica by Jongen. This, one of my favourite pieces of all time, was the big one I had looked forward to for many days beforehand. And I was not disappointed. I am sure many would agree that we were hearing this piece played by a world authority on this composer, and John absolutely brought this to life, not least through his stunning registrations, but also through the sheer energy and passion he put in to the performance. This piece of music brings back a lot of memories and thoughts for me, and I was particularly moved by this performance.

Equally special was the Cochereau to finish, with a blast of the mighty full organ at Ripon to conclude. What really gave this particular recital something extra was the interesting, and really rather entertaining talks by John inbetween each piece. John clearly has a fantastic sense of humour, in addition to a flawless technique. This was such an enjoyable evening in every way that I just had to push the boundaries, and give it 4.5/5. Not allowed? Justified!

York Minster: Saturday 31st July 2010, Kevin Bowyer

York Minster
Saturday 31st July 2010
Kevin Bowyer: Glasgow University Organist

The Programme

• Second Symphony for Organ (1929). Kaikhosru Sorabji (1892-1988)
  First Movement

Time: 19:00
Price: £8 (Season ticket available for £50, reducing the series per recital cost to £6.25)
Attendance: Around 80
Star Rating: 3/5 ***

This was, in a word; interesting. I had never heard of this music, nor if I am truthful this composer, until this recital. Apparently this organ symphony is, when performed as a complete work, 9 hours in length, and with that staggering time frame in mind, it is of course the longest piece of organ music ever written. Obviously, we just had a snippet of it, around an hour and 20 minutes worth to be precise, which was the first movement. An interesting introduction was given by the Organist of York Minster, John Scott Whiteley (as has become the custom at these recitals), during which he asked Kevin to demonstrate the 16 themes. This was a good idea when it came to introducing the themes of this music, but in practice, even most of us 'hard core' organ buffs in the audience struggled to identify more than a handful of them in the 80 minutes heard. Nevertheless, Kevin was introduced in the usual way and there was a pause before he began, which held a real air of anticipation and intrigue.

I expect most of you are now wondering what on earth the music was like. It is extremely hard to describe it, other than to say that at a surface level, it was lots of going up and down the manuals with intermittent loud and quiet bits for most of the piece. Whilst I was extremely interested to hear the new work, after about half an hour, I have to say that boredom was setting in. It had been a non-stop performance, and this was set to continue for much longer, I knew! I wasn't the only one. A couple of people seemed to leave for a 'wander round' and others were shuffling and reading the biographies of the remaining recitalists in the programme, which nicely covers the whole series. This to me suggested that many people weren't that interested, with what was becoming a really rather 'dry' and academic performance. Once an hour had turned, 'num bums' were clearly setting in and frankly, in the words of a friend, I wanted to go up and press General Cancel. Unfortunately this whole movement ended on an extremely loud and rather unpleasant 'chord', of clashing notes, which lasted a bit longer than what I would call tasteful for such a sound. Nevertheless, it cannot be denied that whilst this recital was not the cup of tea of many, and I acknowledge many of its fundamental weaknesses, I was really glad to have heard it. This was for two reasons, - 1. because it was interesting to hear something new and unusual and 2. because I now know not to rush out for the CD.

One thing that was noted afterwards was that, bar one very obvious wrong note, how would anyone have known if mistakes were being made, and for that matter, whether half of it was being made up? Obviously it wasn't, but you understand the point. It was hard to concentrate on music that one didn't recognise for that length of time, and there most certainly wasn't anything to hum along to. I wanted to give it 2 stars overall, because my enjoyment of it was limited to an academic interest and I dread to think what visitors/'non-organ recital people' thought, but I wanted to give it 4 stars for the sheer length of the performance, and the fact that Kevin played for this period solidly and with enthusiasm, which is obviously hard work. Sadly, the applause at the end was rather weak. Not my favourite recital ever, but an 'interesting' evening. I look forward to the remaining 7 York Minster recitals, which look in the programme to be a treat, and will all be reviewed here.

Durham Cathedral: Wednesday 28th July 2010, James Lancelot

Durham Cathedral
Wednesday 28th July 2010
James Lancelot: Organist & Master of the Choristers, Durham Cathedral & Durham University Organist

The Programme

• Rhapsody in C# minor, Opus 17, No3. Herbert Howells (1892-1983)
• Voluntary in A, Opus 7, No1. John Stanley (1713-1786)
  Adagio - Allegro
• Da pacem Domine in diebus nostris. Jan Pieterszoon Sweelinck (1562-1621)
• Duetto in G, BWV 804. JS Bach (1685-1750)
• Chorale Prelude Jesus Christus, unser Heiland, BWV 665. JS Bach (1685-1750)
• Fantaisie in A major. Cesar Franck (1822-1890)
• Chorale Preludes. Sigfrid Karg-Elert (1877-1933)
  O Gott, du frommer Gott, Opus 65, No 50
  O Ewigkeit, du Donnerwort, Opus 65, No 42
• Chorale Prelude, Nun sei willkommen, Jesus, lieber Herr. Flor Peeters (1903-1986)
• Postlude pour l'Office de Complies. Jehan Alain (1911-1940)
• Toccata & Fugue in D minor and D major, Opus 59, Nos 5/6. Max Reger (1873-1916)
  
  

Time: 19:30
Price: £8 (£6 conc.)
Attendance: Fair, around 120.
Star Rating: 4/5 ****

The temptation to 'award' this recital with a five star rating was huge, but I must discipline myself and leave the five star rating for organ recitals which really do blow me (and others) away. The four star rating is at the very top end if you like of what a 'standard' organ recital is like, and this is where the recital by James Lancelot at Durham Cathedral most certainly was. The sheer quality of James' musicianship was very high, and he demonstrated well his knowledge of the organ itself, allowing us to hear many different sounds and effects. James has been in his post at Durham Cathedral since 1985, and it isn't difficult to hear the effect of knowing an instrument for some 25 years. As always, the introduction to the recital itself was done by James, who with a beaming grin on his face, gave us a short and informative talk through the pieces he was about to play. His enthusiasm (and admirable apparent lack of nerves) really built up the excitement for what was about to come. In true Durham fashion, James' brief talk was preceded by a prayer by a member of the Cathedral chapter - always a nice touch, given they explain how everything done in the Cathedral is done to the glory of God. Like it.

The recital itself was superb. Notable highlights include the Howells Rhapsody at the start, which was the only time we heard the Harrison Tuba and Orchestral Trumpet stops from high up in the triforium of the quire. This was a bold and thrilling start to the recital. Many of the much older pieces that followed were clearly well suited to the Durham organ, known locally as the 'Harrison flagship'. Personally, I am of the opinion that it doesn't sound as well as the Harrison at Ripon, but perhaps it primarily has something to do with the fact that Harrison are based in Durham! Cunning. James had explained beforehand that the first of the Karg-Elert Chorale Preludes was in fact written in its entirety on the day of his own mothers' death. This was quite emotional, and in that sense, one could say the composition is superb given how much of the inherent emotion of the composer can be felt. The final impressive piece, the Reger Toccata & Fugue, was faultlessly executed and showed off the clear skill and virtuosity contained in James' playing, in addition to the broadness of his repertoire. The exciting close on the 'full' great and swell sounds sent us on our way beaming similarly to how James was at the start - perhaps its infectious, or perhaps its just damn good! For those of you who may be interested, the friend I noted as having joined me at Central Methodist in York on July 22nd also came with me to this, and thoroughly enjoyed it again. A good result all round, and a splendid evening was had by all.