York Minster: Saturday 28th August 2010, Susan Landale

York Minster
Saturday 28th August 2010
Susan Landale: Professor of Organ, Royal Academy of Music, London.

The Programme

• Passacaglia and Fugue in C minor, BWV 582. JS Bach (1685-1750)
• Chorale setting (Orgelbuchlein): O Mensch bewein dein Sunde gross, BWV 622. JS Bach (1685-1750)
• Choral III in A Minor. Cesar Franck (1822-1890)
• Sonata II in C Minor, Op.65. Felix-Mendelssohn-Bartholdy (1809-1847)
  Grave-Adagio
  Allegro maestoso e vivace
  Fuga, allegro moderato
• Variations on: Weinen, Klagen Zorgen, Sagen. Franz Liszt (1811-1886)

Time: 19:00
Price: £8 (Season ticket available for £50, reducing the series per recital cost to £6.25)
Attendance: Around 250
Star Rating: 3/5 ***

Susan Landale is an organ teacher of great standing, and has worked extensively in France in recent times. Therefore, her authority over French organ music is largely unquestionable. John Scott Whiteley gave an informative and insightful introduction to the music, particularly so in relation to the final piece. The two items of Bach that opened the recital were registered well, and included a nice reed on the pedal, which wasn't too 'heavy' or 'in your face', adding a pleasant and yet solid foundation to the music. The second item made a particularly stirring use of the tremulant on the organ.

The Franck Choral was an interesting interpretation, unlike any other I had heard. It used a great French 'reedy' sound, and was played with authority. Susan has recorded the complete organ works of Cesar Franck previously, so she was clearly familiar with the work, and undoubtedly the music of Franck in general. Nevertheless, the only let down to this for myself was perhaps the way that there wasn't much of a build up towards the end, nor did she 'slow down' for the final minute or so, as I think is customary. This was Franck's final work, completed so close to his death that he never had chance to hear it. As it is widely seen as one of his finest pieces of music, I would have preferred to have taken more from it, particularly at the close.

The piece that stood out the most for myself, and undoubtedly for others too, was the Liszt variations on Weinen, Klagen Zorgen, Sagen, which translates to variations on weeping, lamenting grieving and searing. In 1862, Liszt went to Rome following the death of his daughter (his son had already died in his arms in 1859), where he wrote this piece. It features sections of enormous sadness, a descent in to the horrors of Hell, and draws to an end with a real feeling of hope and peace, followed up with an immense conclusion. Clearly meant as a piece of great emotion and power, it was played brilliantly on this strain by Susan. She reflected so well the obvious feelings of Liszt as he wrote the music, and the York organ spoke finely throughout in all sections, not least during the thunderous pedal passages alongside the biggest reeds of the organ sounding together at the end. This made for a great end to this recital, and it was this piece that really made it enjoyable and worthwhile attending for me.

York Minster: Saturday 21st August 2010, David Pipe

York Minster
Saturday 21st August 2010
David Pipe: Assistant Director of Music, York Minster

The Programme

• Marche hongroise (from La Damnation de Faust), arr. Henri Busser. Hector Berlioz (1803-1869)
• Fantaisie in A (Trois Pieces). Cesar Franck (1822-1890)
• Partite diverse sopra Sei gegrusset, Jesu gutig. BWV 768. JS Bach (1685-1750)
• Miroir (1989). Ad Wammes (b.1953)
• Symphonie V, Op.42 No1. Charles-Marie Widor (1844-1937)
  i Allegro vivace
  iv Adagio
  v Toccata

Time: 19:00
Price: £8 (Season ticket available for £50, reducing the series per recital cost to £6.25)
Attendance: Around 250
Star Rating: 4/5 ****

It would be fair to say that this was a big recital for David Pipe. Having been at York Minster for almost two years now, he has begun to establish himself locally as a player and choir trainer of some repute, and as such the recital was well attended. David certainly did himself, the organ, and his teachers great justice throughout.

There were many interesting pieces featuring, not least the opening Berlioz Marche hongroise. I had never encountered this music previously, and am of the understanding that it is an orchestral work, transcribed for organ in this case. It worked very well indeed, and formed a particularly rousing opening. The Franck that followed was equally as enjoyable, and being composed by one of my own favourite composers, I personally enjoyed this rendition. David played this with accuracy and enormous attention to the 'French feel'.

The follow up to this was the twenty minute long Bach Partite. The only way this piece of musical genius can be saved from being, well, rather boring for the masses, is if one listens to the rather pleasant hymn tune at the outset, that the set of variations are based around. Thankfully I did so, and found it mostly quite enjoyable, particularly the latter movements, through which you could feel the theme and feel for the whole piece very much shining through. I think twenty minutes for this kind of work is long enough, though.

The Wammes 'Miroir' was a joyous and refreshing little number of around four minutes, and another that I had previously not encountered at all. It was very quirky and achieved a couple of sniggers from the audience at the best highlighted points. The jewel in the crown of this recital had to be the Widor Symphony 5, from which David played the 1st, 4th and 5th of the 5 movements. The precision, virtuosity and thought given to this performance was notable without exception, and the Widor Toccata, whilst not the usual 'full organ' with the biggest reeds on show, in fact concluded in a blaze of sheer brilliance from the Minster organ, without being too over the top. The key part of this whole recital for me was the superb ways that David played and interpreted the music, and how he handled the organ. David has clearly gotten to know this instrument well, and had obviously thought long and hard about his choices of registration. A thoroughly enjoyable evening, and with note to Davids playing of absolutely impeccable accuracy and seeming effortlessness, I think his will be a name to watch out for in the future.

Central Methodist Church, York: Thursday 19th August 2010, Francis Jackson

Central Methodist Church, York
Thursday 19th August 2010
Francis Jackson: Organist Emeritus, York Minster

The Programme

• Prelude in C and Scherzo. Edward Bairstow (1874-1946)
• Prelude & Fugue in B minor (BWV 544). JS Bach (1685-1750)
• Choral Dorien. Jehan Alain (1911-1940)
• Partita, Op.19. William Mathias (1934-1992)
  i) Maestoso: Allegro non troppo
  ii) Lento alla marcia
  iii) Allegro, ma non troppo
• Prelude on 'Repton', Op.150/2 and Scherzo amabile, Op.92. Francis Jackson (b.1917)
• Tuba Tune. Norman Cocker (1889-1953)

Time: 12:30
Price: Free (retiring collection)
Attendance: Around 100
Star Rating: 4/5 ****

A very enjoyable recital was given here by the well known organist and composer Dr Francis Jackson CBE. Dr Jackson, an adorable character of 92, delivered what was a very varied programme of music, which had 'something for everybody'. Appropriately, Francis began with the Bairstow prelude, which stretched the resources of this rather large organ to their limits. It was evident, from the very nicely placed screen with a live view of the console upon it, that this piece was very dear to Francis. Following that was the very melodic Scherzo, also by Sir Bairstow. The Bach that followed is one of the 'classics', and was executed with great accuracy.

A piece played with which I was not too familiar was the Mathias Partita. This certainly sounded hard to play, but as usual, Francis did not disappoint. It was quite lengthy, causing the recital to run over a bit (not ideal for those on lunch breaks, and a small handful dressed relatively smartly had to leave after this) but nevertheless it was enjoyable to hear. The piece on the hymn tune Repton, which we all know most frequently as being set to 'Dear Lord and Father of Mankind', was a most reflective and stirring piece by Jackson himself. The recital ended with the very well known Cocker Tuba Tune. This is a piece Francis is very well associated with, following his landmark recordings of this using the Tuba Mirabilis during his time at York Minster. Whilst the organ at Central Methodist in York does not have a Tuba stop, the choir Tromba ranks certainly managed to pull it off well. Francis Jackson was on top form for this recital, and he spoke both with amusement and interest, and I enjoyed it thoroughly.

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].