350 Years of Organ Masterworks
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350 Years of Organ Masterworks, the second CD released by Amemptos, is a collection of pieces written by composers from Jan Sweelinck (1562-1621) to Herbert Howells (1892-1983) via Bach and Mendelssohn and others.
What is immediately apparent listening to this CD is the clarity of the recording and the accuracy of Simon Bell’s playing of the organs at Southwell Minster. That statement - along with the fact that the disc contains 10 pieces in (almost) chronological order, allowing the listener to experience the progression of styles in organ-music – might suggest a somewhat dry, academic study. Have no fear though, as this is instead an exciting travelogue illustrated in vivid (though not gaudy) detail. The organs acquit themselves very well too, with the “English” sound in Howells’ “Master Tallis’s Testament” matched for quality by some very French Vox Humana in Franck’s “Fantaisie in A”.
Sweelinck’s variations on ”Onder een linde groen” open the CD. Though based on a secular tune, they contain the elements of many later examples of the “theme & variations” idea. After this, Buxtehude’s “Praeludium in F# Minor” immediately makes liturgical organists relax and feel “at home”, prefacing as it does the Bach which follows. The two men were well acquainted and Buxtehude’s influence is apparent in, if rather dwarfed by the output and quality of the latter – almost as if our travels have been in black and white up to this point, but are now revealed in photographic colour. A little like the (apocryphal?) scene in Amadeus where Mozart sits at the piano after Salieri & says “Why didn’t you write it this way?”
A slight error in the notes at this point awards Bach a lifespan of 165 years - he, of course, died in 1750, not 1850. Oh that he had lived for this length of time, what marvels would he have composed? Even with a mere 65 years though, his output for the organ considerably exceeds “that” toccata & fugue (whether it was by him or not). His fugal writing in the less well-known C minor amply demonstrates his mastery of the form after an unusually meandering Fantasie.
And so to Johann Krebs, one of JSB’s pupils. Two offerings, with assistance from Gordon Truman (Trumpet) and Adrian Wilson (Oboe), demonstrate his willingness to learn from the master. The Fantasia on “Wachet Auf” has shades of JSB’s own famous work, although the tune played on the trumpet is rather less recognisable. The “Fantasia in F Minor” sounds like an homage, as though a discarded aria from the B Minor Mass had been re-worked for the oboe. What these two pieces demonstrate is that, even if not strictly “organ” masterworks, the organ is nonetheless an ideal accompaniment instrument and blends beautifully with both its companions.
Moving forward a complete lifetime to Mendelssohn and our photographic tour steps up a gear into a television documentary as the lush romantic writing starts to move us emotionally. Much more recognisable here initially is the theme from “Wachet Auf” in his “St Paul Overture” (transcribed by WT Best). Mendelssohn was a great admirer of Bach and demonstrates here a progressing ability not only to write variations on the theme, but to expand, colour, twist, turn and extract every last possible ounce of material from the chorale. Bach enraptures with the beauty of mathematics, whereas Mendelssohn tugs at the heart-strings with the eye of an artist.
What a privilege it must have been for Franck to be around in the mid-1800’s at the time of huge advances in organ building. Suddenly the imagination is given full flight with new stops (harmonic pipes, new reed stops) and playing aids (swell boxes, Barker lever-assisted couplers etc.) No wonder, then, that his writing takes the organ repertoire forward again. His “Fantaisie in A” is the longest work on the disc and showcases many of the different sounds of the organ. Incidentally, the CD notes reference the fact that the whole performance is recorded – including the occasional thunk of a major stop change, as you would hear in a live recital. This piece includes only the second of these on the disc (not at all intrusive in my opinion); no multiple-take recording and stitching here - this is good, honest playing & I welcome the reality of the experience.
Whitlock’s “Fanfare” brings us into the 20th century and we are in the realms of flat screen, NICAM stereo in our travels now. Where would Whitlock be without the glorious sound of an English Tuba – especially, as here, on 16” wind? (Look elsewhere on this site & I could probably say, “Same place as me without decent strings”!) The nave organ really is in its element here, with the sound flowing out unhindered into the Minster through the four large triforum arches.
At this point, the really pedantic might wish to play the final track, before coming back to Howells’ “Master Tallis’s Testament” – that way, you hear the piece written around 1926 before that written in 1940. However, as the inspiration for this track is from rather further back (early 1500s as opposed to 1959), maybe we will leave them as presented. Inspired specifically by hearing Vaughan Williams’ “Fantasia on a Theme of Thomas Tallis”, it remained one of his favourite works and is surely one of the finest pieces of English organ music..
We now arrive in the era of 4K HD, surround sound and the stunning “Carillon de Westminster” by Vierne. Depending on who you believe, Vierne asked Henry Willis to hum the tune that the Big Ben chimes to him but, having a bad memory(?) or simply mis-hearing them, he wrote them down incorrectly. It could even be that he re-wrote them for his own ends. Whatever the truth, the spectacular result is one which grows in intensity and excitement and leaves most organists wanting both in skill and available stops. Simon Bell certainly does not fail in the first of these requirements and the Quire organ copes admirably with the latter. All in all, this track is a very fitting conclusion to our historical journey.
I have listened to this CD in a number of ways – in the car at “driving volume”, barely audible via headphones late at night and, as I type, via decent headphones & equipment at sensible volume. Whatever the circumstance, this is a thoroughly enjoyable CD and I wholly recommend it to any lover of organ music.
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Further details & ordering from www.amemptosmusic.co.uk