York Minster: Saturday 18th September 2010, John Scott Whiteley

York Minster
Saturday 18th September 2010
John Scott Whiteley: Organist of York Minster

The Programme

• Allegro (from Symphonie VI, Op.42). Charles-Marie Widor (1844-1937)
• Passacaglia, Op.17 (2009). John Scott Whiteley (b.1950)
• Etude (Canon) in E Major, Op.56. Robert Schumann (1810-1856)
• Sonata Eroica, Op94. Joseph Jongen (1873-1953)
• Papillons Noirs (from 13 Preludes, Op.69). Joseph Jongen (1873-1953), trans. Whiteley
• Prelude and Fugue in E Minor, BWV 548, 'The Wedge'. JS Bach (1685-1750)

Time: 19:00
Price: £8 (Season ticket available for £50, reducing the series per recital cost to £6.25)
Attendance: Around 400
Rating: 10/10

This recital was of significant importance. Not only did it close the York Minster 2010 summer series, but it also closed a 35 year long career for John Scott Whiteley as Organist of York Minster, now Organist Emeritus. The large attendance, consisting of admirers from around the world, was testimony enough to the admiration and respect toward John and his playing from all who were present. With this in mind, there was a notably unsubtle feeling of anticipation before the recital began, as the Quire (and top of the nave) swelled up with excited audience members. Indeed several well respected Organists from York Minster both past and present, as well as from other places, could be seen amongst the sea of faces.

The Dean of York introduced the recital, and spoke in part about the release of the new CD, 'JSW Organ Works' from Regent Records, which was on sale after the recital. The Dean already had his copy, and held it up for all to see, which was surely a real statement of admiration towards John. John himself introduced the recital, and concluded his introduction with an amusing anecdote (with perfect comic timing) about when he met the composer Messian. He said that on the second of the two occasions Messian had written on a score of his that he hoped it would afford him at least a little joy. John concluded neatly with his hope that this recital would afford us all at least a little joy. Enthusiastic applause began as John made his way up the the console.

The finest moment, before the music began that is, had to be when John could be seen to arrive at the console, and close the door to it behind him, and we could see on the projection screen that he had no registrant or page turner. It was just him and the organ - fantastic. It would be impossible to single out any individual pieces from this recital, as they all had an individual significance, so I shall try to talk briefly about each. The Widor Allegro to begin, put a new meaning to the phrase 'a rousing introduction'. The use of the full organ at the opening chords, including the Tuba Mirabilis, was of immense effect. The dramatic passages that this piece includes in its 8 or so rather difficult minutes seemed to flow effortlessly and nimbly from John's fingers (and feet!), noted as everybody in the audience was completely transfixed on the screen (that including, I add, some of the countrys leading cathedral and concert organists)! The piece, delivered with such visible passion and energy, was clearly a favourite of the recitalist, and I personally marvelled in the use of counterpoint and colour in the music. More delighted applause broke the stunned silence after the final moment of decay in this amazing acoustic to acknowledge this phenomenal performance. Applause after every piece then occurred throughout, something that only Dr Francis Jackson otherwise seemed to get amongst the other recitalists of the series; perhaps that says enough.

The Passacaglia by Whiteley himself was very much a change in style, but was by no means unwelcome. The diversity and juxtaposition of styles and influences, as explained fully on the detailed and insightful programme notes for this piece that were given out as people entered, had both a rather varied and at times quite emotional effect, reaching a very dramatic conclusion which in part, perhaps, recalls earlier pieces by Whiteley. This is on the disc 'JSW Organ Works' from Regent Records, and is certainly worth buying to hear this yourself.

A couple of shorter and perhaps 'lighter' pieces also featured, including the Etude by Schumann and Papillons noirs (black butterflies) by Jongen. They were both enjoyed thoroughly, not least because it added some more variety to the programme, but also because we heard some more interesting tonal colours from the Minster organ - Whiteley clearly using his inestimable knowledge of the instrument and the building to great effect. The Jongen comes to an almost comic ending, but this was preceded by another 'great' organ work by the same composer, the mighty Sonata Eroica. This was a stunning 'tour de force' delivered magnificently by John Scott Whiteley who must be the worlds leading Jongen scholar, and was probably, just, my favourite piece of the night.

The final piece was the famous Bach 'Wedge'. Whilst speaking beforehand, John placed a bit of a disclaimer on this performance, saying that it wouldn't be exactly authentic, like on 'those funny TV programmes'. It turned out that the use of a bit of extra 'bulk', shall we say, in no way detracted from the quality of the music, which remained identifiably Bach, and at no point went over the top. In fact, it for me at least made the piece all the more enjoyable, and was ideally representative of John's mastery over the Minster organ and the wall of sound it is capable of producing. At the end of the recital, John received a long and enthusiastic standing ovation from the audience, which appropriately concluded both a landmark recital, and a landmark organist's career at York Minster.

York Minster: Saturday 11th September 2010, Robert Sharpe

York Minster
Saturday 11th September 2010
Robert Sharpe: Director of Music, York Minster

The Programme

• Concerto No2 in G Minor (1815). Matthew Camidge (1764-1844)
  i) Adagio
  ii) Allegro
  iii) Adagio
  iv) Gavotta
• Prelude and Fugue in E flat, BWV 552, "St Anne". J.S. Bach (1685-1750)
• Scherzo in G Minor, Op.49, No.2. Marco Enrico Bossi (1861-1925)
• Grande Piece Symphonique, Op.17. Cesar Franck (1822-1890)
  i) Andantino serioso - Allegro non troppo e maestoso
  ii) Andante - Allegro
  iii) Andante - Andantino serioso - Allegro

Time: 19:00
Price: £8 (Season ticket available for £50, reducing the series per recital cost to £6.25)
Attendance: Around 300
Rating: 9/10

It would be fair to say that this recital contained something for everybody. Indeed, we had music from Germany, France, Italy and England, all of which heralded all expected of their very characteristic isotypic styles. One thing that was particularly nice here, as with other Cathedrals and churches when this happens, was to hear the Director of Music actually play the organ. Most often they are seen directing the choir, despite them more often than not being very well regarded as organists. Robert Sharpe is no exception, and is well established as a recitalist of some quality.

With this of course in mind, nobody was in any way let down by this recital. The charming opening, that of the second Concerto by Camidge, was so pleasant on the ear and registered in an authentic style for the period of writing. Camidge was Organist of York Minster between 1799 and 1842, and was part of the infamous Camidge family that provided York Minster with Organists for a period of well over 100 years. This composition, whilst conservative in its writing, is of such soundly solid construction, and in parts so divinely delicate and detailed, that one almost wanted to applaud each fine movement.

We then moved forward in to the very popular "St Anne" Prelude and Fugue by Bach. Another of his big works with a nickname for which nobody seems to have an explanation (do get in touch if you do), it reaches one of the most dramatic climaxes that Bach had ever written for the organ, and in doing so, is another of the favourites in the organ repertoire. It was executed boldly and with sensitivity by Robert, a combination that is perhaps not easily achieved, and this made the forever deeply revered ending in to an utterly sparkling conclusion.

Of continuing interest were the remaining pieces of the programme, and first was the Scherzo by the Italian organist and composer, Marco Bossi. This was played in a truly thrilling manner, with occasional blasts on the Tuba Mirabilis, tastefully selected, and indeed reminiscent of the recordings made in the 1960s by Dr Francis Jackson, who rather nicely then held the position now held by Robert. This piece certainly looked very difficult to play when viewed on the big screen showing the console and performer, and the results were both aurally and visually inspiring. The final item, and one of the 'great organ works' that the York recital series has this year been renowned for, was the Franck Grande Piece Symphonique. Few words can be used to describe this, one of the earliest French organ symphonies, with justice. However, what can be described justifiably was the stunning performance of the work given by Robert, reaching a thrilling and dramatic climax. This recital was most certainly one of the highlights of the so far 2010 series at York.

Ripon Cathedral: Tuesday 31st August 2010, Colin Walsh

Ripon Cathedral
Tuesday 21st August 2010
Colin Walsh: Organist Laureate of Lincoln Cathedral

The Programme

• Trois Improvisations. Trans. Maurice Durufle. Louis Vierne (1870-1937)
  1) Marche episcopale
  2) Meditation
  3) Cortege
• Elegiac Prelude. George Bennett (1863-1930)
• Prelude and Fugue in E Minor, BWV 548, "the Wedge". JS Bach (1685-1750)
• Allegro Vivace (from Symphony 5, Op.42 No.1). Charles-Marie Widor (1844-1937)
• Cortege et Litanie. Marcel Dupre (1886-1971)
• Prelude et Fugue sur le non d'Alain. Maurice Durufle (1902-1986)

Time: 19:30
Price: £7.50
Attendance: Around 50
Star Rating: 7/10

This was another recital in the 2010 Ripon Cathedral recital series given by an organist of world class repute. Many of the pieces it contained were familiar to all, and I pay particular attention to Colin's effortless playing of the Bach "Wedge", for which he did intense justice. He brought out the finest voices of this particularly English sounding organ, by Harrison and Harrison, to give a deeply authentic and equally thrilling performance of this great Bach work, a favourite of many. One of my own favourites was the Widor Allegro Vivace from symphony 5, which I felt was delivered as arrestingly as in York Minster a week or so ago. The density of the piece, and the magnificent thundering out of the particularly brilliant parts of this opening movement, gave a superb effect in to the considerable, if not surprisingly generous, acoustic at Ripon Cathedral.

A different piece of significance, although similarly French in character, was the Durufle Prelude and Fugue. This was written as a tribute by Durufle to the great French organist Jehan Alain, who was killed in France during the 1940 German invasion. A distinctive theme builds up throughout, with recapitulations of Alain's most popular work, Litanies, appearing towards the end of the Fugue. The Prelude has a slightly different feel to me, and as it increases in depth and intensity, it reaches a particularly gripping conclusion, with two massive D major chords.

An encore was very well received at the end, and this was the Elgar 'Imperial March'. This piece allowed us to hear the Ripon Tuba, and moreover, left us all feeling really rather patriotic! The inclusion of this final item rounded this recital off well, bringing the Ripon summer organ recital series to a fitting close.

York Minster: Saturday 4th September 2010, Simon Nieminski

York Minster
Saturday 4th September 2010
Simon Nieminski: Organist, St Mary's Metropolitan Cathedral, Edinburgh

The Programme

• Fanfare for St John's. Philip Moore (b.1943)
• Polonaise in A, Op.40 No.1. Trans. W.T. Best. Fryderyk Chopin (1810-1849)
• Mr Bach's Bottle Bank. Giles Swayne (b.1946)
• Nocturne in E flat, Op.9 No.2. Trans. William Faulkes. Fryderyk Chopin (1810-1849)
• Scherzetto and Fugue on the name FRANCIS JACKSON, Op.15. John Scott Whiteley (b.1950)
• Suite: Scenes on the Wye. Frederick Wood (1880-1963)
  iii: Tintern
  iv: Symonds Yat
• Improvisation on a Chant of John Goss. Francis Jackson (b.1917)
• Symphonic Fantasia and Fugue, Op.57 'The Inferno'. Max Reger (1873-1916)

Time: 19:00
Price: £8 (Season ticket available for £50, reducing the series per recital cost to £6.25)
Attendance: Around 250
Rating: 8/10

This organ recital, by a former York Minster organ scholar, was one of the most energetic and 'fun' performances I have experienced at the Minster. The first thing to say about this is do not be fooled by the programme, or more specifically the volume of it. The pieces that came before the big work, the Reger 'Inferno' that concluded, were mostly relatively short, at well below 10 minutes each. What was particularly nice to see was the Chopin bi-centenary marked with two piano transcriptions for organ being played, and most notably the popular Polonaise in A. These transcriptions worked wonderfully on the organ, and this perhaps highlights the wealth of extra repertoire that can be (and is being) garnered for all kinds of instruments with mature and effective transcription, but particularly between such as keyboard instruments.

Another thing to note from this recital was the presence of compositions by no less than three Minster organists. The contributions of Francis Jackson, Philip Moore and John Scott Whiteley were all appreciably noted by people in the audience, and indeed by myself. The most recent work of these, by John Scott Whiteley, was written to mark Dr Jacksons 90th birthday. It started off intriguingly on flutes, and built up to the most splendid conclusion.

The piece named 'Mr Bach's Bottle Bank' by Giles Swayne had a very cheeky feel to it indeed, with a rather surprising ending. Not performed as a work very often, it was clearly to the taste of the performer. Performed even less often however is the Max Reger 'Inferno', which was brimming with all kinds of musical colour and indeed enticed and ultimately professed an enormous forcefulness from the organ and the performer alike. There are few words to describe a work of this scale, other than to say that it is probably one of the most immense pieces of music ever written down. The mighty concluding passage left myself at least yearning for more. This was a marvellous opportunity to hear what is a much underperformed, but obviously very difficult, work.

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].

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.

Central Methodist Church, York: Thursday 22nd July 2010, Matthew Atherton

Central Methodist Church, York
Thursday 22nd July 2010
Matthew Atherton: Director of Music - Barnard Castle Preparatory School, County Durham

The Programme

• Allegro, from Symphonie VI. Charles Marie Widor (1844-1937)
• Andante, from Sonata IV, BWV 528. JS Bach (1685-1750)
• Tu es Petra, from Esquisses Byzantines. Henri Mulet (1887-1967)
• Toccata in Seven. John Rutter (b.1945)
• Fantasia in G, BWV 572. JS Bach (1685-1750)
• Prelude on the Londonderry Air. Noel Rawsthorne (b.1929)
• Finlandia. Jean Sibelius (1865-1957), arr. Matthew Atherton
  
  

Time: 12:30 (lunchtime)
Price: Free, retiring collection
Attendance: Good, around 50
Star Rating: 4/5 ****

This was a thoroughly enjoyable organ recital. As it happened, I took a friend along with me, who hadn't really ever heard live organ music before, and she turned out to thoroughly enjoy it. A good result straight away. The main reason for this, alongside the thrilling tonalities of this instrument, might be down to how Matthew employed so many well known musical themes in his programme, such as those found in the Londonderry Air and his own inspiring arangement of Finlandia. There was something for everyone to 'hum along to' should they wish, as well as some of the more popular organ repertoire. The Widor Allegro to open the recital was a particularly rousing start, and the Bach Fantasia was also particularly enjoyable. Matthew played all these pieces with great accuracy and it has to be noted that he had clearly payed much attention to his registrations and sorting out what worked best on this organ. I must also pay homage though to Matthew's page turner/pupil, George Warren. George played the Rutter Toccata, and for a boy who turned out to be 13, this was a better performance than I have heard on occasion from experienced and distinguished organists. It was quite inspiring, to say the least, and the raw talent was clear. Look out for this name in the future!

Ripon Cathedral: Tuesday 13th July 2010, David Briggs

Ripon Cathedral
Tuesday 13th July 2010
David Briggs: Concert Organist & Organist Emeritus, Gloucester Cathedral

The Programme:

• Toccata & Fugue in D Minor, BWV 565. JS Bach (1685-1750)
• Improvisation on a theme hummed by the audience.
  
  INTERVAL
  
  
• Improvisation to the silent film of The Phantom of the Opera (1925)

Price: £10
Attendance: High, around 300.
Star Rating: 5/5 *****

This unusual recital on the magnificent Harrison organ of Ripon Cathedral began with a spectacular rendition of the 'most famous piece of organ music of all time', the Bach T&F. It was, impressively, performed from memory in its entirety. David added an enormous amount of 'fun' in to the performance, doing extra 'twiddly bits' where he saw fit, and really making it a really fun performance. Whilst obviously not authentic in this sense, it made what I often find an over played and, dare I say at times made to be quite a boring piece of music, thoroughly enjoyable. It was a magnificent opening to a wonderful evening. Following this, David engaged with the audience in asking them to give him notes at random. From this, a succession of notes was strung together which he made everyone hum together, and he then improvised for about 10 minutes on this theme. The best feature of this was of course the way David made the audience feel so involved in what was being played.

However the best was yet to come. Following a short break, the Phantom of the Opera silent film of 1925 was played, with equipment seemingly provided by Keith Hearnshaw, and David Briggs performed a stunning improvisation which so clearly reflected the events taking place on the large screen, erected in the darkened cathedral beyond where the nave console was being played from. David had said beforehand this was the 185th performance of this work, and whilst never the same every time, I am sure he had a pretty fair idea of where it was all going! Many recognisable themes emerged, enticing amusement from the audience, such as 'Ten Green Bottles' and 'Nessum Dorma' among numerous others. David built this up to a magnificent climax and played a short while after the credits rolled, as a kind of finale. Naturally, David was thanked with rapturous and prolonged applause, and I thanked him personally for providing such a splendid evening. 5 stars.

Central Methodist Church, York: Friday 2nd July 2010, Robert Sharpe

Central Methodist Church, York
Friday 2nd July 2010
Robert Sharpe: Director of Music - York Minster.

The Programme:

• Praeludium in G minor. Dietrich Buxtehude (1637-1707)
• Folk Tune & Sortie. Percy Whitlock (1903-1946)
• Schmucke dich, O liebe Seele, BWV 654. JS Bach(1685-1750)
• Prelude & Fugue in G, BWV 541. JS Bach(1685-1750)
• Solemn Melody. Henry Walford-Davies (1869-1941)
• Suite from 'Henry V'. William Walton (1902-1983)
  March - Passacaglia - Touch her soft lips and part - March
  
• Clair de Lune. Louis Vierne (1870-1937)
• Carillon-Sortie. Henri Mulet (1878-1967)

Price: £6 (plus 'exit charge' retiring collection)
Attendance: Low, around 20.
Star Rating: 4/5 ****

The recital programme was interesting and varied, not only on paper, but to hear also. We opened bountifully with the rather enjoyable Buxtehude Prauludium, which was executed with great zeal. Various catchy and interesting pieces were played, and a new one to me was the Walton Suite from 'Henry V', with its rather interestingly named third movement. The closing March was a repeat of the first, and rounded the piece off nicely. Clair de Lune, an emotive piece to say the least, was the calm before the storm when it came to the Carillon-Sortie, which showed off the brilliantly voiced Trombas/Trombone family of stops and formed a most uplifting finale.

Whilst performed to an intimate group, this recital was delivered with the usual high standards that have come to be expected of Robert Sharpe. His playing held forth not only his own enormous accuracy but the characteristic voicing of this instrument at Central Methodist in York was displayed well - do get along to hear this if you can! We look forward to hearing more of Robert in the future.