Album insights
The organ inspires contemplation at night. When touched, it ignites the imagination, bringing forth the unknown from the depths of the subconscious. It creates a unique world, always fresh and never repeating, emerging from the darkness like an enchanted island in the midst of the ocean.
Sir Julius Benedict, born in Stuttgart, pursued a long and successful career as a pianist and orchestra conductor. Active in Vienna and Naples, he eventually settled in London, where he gradually made a name for himself as a composer, notably with his opera "The Lily of Killarney." Despite working with Weber and Hummel, his music was more influenced by Italian elements, particularly Rossini. His piece "March of the Templars," featuring a brisk main theme and a more solemn second subject, was performed as Queen Victoria entered Westminster Abbey during her Jubilee celebrations in 1887. The arrangement by W.T. Best, the celebrated organist of St. George's Hall in Liverpool, stands out for its extravagance, reflecting his legendary reputation as a soloist.
Sir Henry Walford Davies became the organist of Temple Church in London in 1898, where he remained for the next twenty years. Following this, he shared the directorship with George Thalben-Ball for four years before handing over the reins in 1923. Studying composition with Parry and receiving support from Elgar, Davies achieved early success with the cantata "Everyman." He gained true fame as a choirmaster and, most notably, as an educator and popular radio speaker. His most famous composition, "Solemn Melody" for organ and strings, written in 1908, is performed here in J.E. West's organ arrangement, showcasing harmonic variations and a tranquil conclusion.
William Spark, a colorful figure and prolific composer, is known today more for his witty and clever writings, illustrating England's musical life in the late 19th century. After receiving instruction from S.S. Wesley in Exeter starting in 1840, he held various positions, culminating in his appointment as the organist of St. George's Church in Leeds. His collaboration with Henry Smart in designing the organ for the Leeds Town Hall in 1859, one of the largest instruments of its time, led to a dinner in the organ's jalousie swell during its construction in London. Spark's appointment as Municipal Organist, following a competition in the subsequent year that caused controversy, was not met with universal approval, especially by residents of Huddersfield, home to a competitor. Spark held his position until his death in 1897. His organ works, deemed worthy of publication in the English market by Spark himself, showcase elaborate endings that resonate with the romantic organ's characteristic tones.
Antoine Édouard Batiste, though now almost absent from reference works, enjoyed tremendous fame during his lifetime. Serving as the organist of St. Eustache in Paris from 1854 until his death, Batiste was renowned as one of his generation's most popular soloists, thanks to his diverse repertoire and talent as an accompanist and improviser. Despite falling out of favor like his contemporary Lefébure-Wély, Batiste's music, though leaning toward the salon rather than the altar, captivates with its melodic charm and captivating quality. His well-known composition, the "Andante in G," exists in fifty separate English editions, including one for an unconventional ensemble of two mandolins and piano. While Spark found Batiste's organ works noteworthy for publication, he held a less favorable opinion of the composer himself, describing Batiste as a "plump, round-faced gentleman full of slick conversation and anecdotes."
William Lloyd Webber, father of Andrew and Julian, stood out as an exceptional soloist and educator. Having served as an organist at Westminster Central Hall and as Director of the London College of Music for many years, Webber composed the "Prelude," the first of the Three Recital Pieces from 1952, showcasing a theme that builds to a rhapsodic climax before melting into a wonderfully melancholic cadence.
Jean Langlais, succeeding Franck and Tournemire at Sainte-Clotilde in Paris, carried on a great tradition through his compositions paying homage to Bach, Rameau, and Frescobaldi. His 1951 piece, "Hommage à Frescobaldi," captures the spirit of the Italian master from the 17th century, known for inspiring not only his compatriots but also influencing the styles of Buxtehude and Bach. Langlais' playful and mischievous variations in the composition reflect his characteristic modal inflections and shimmer with an understated ending.
César Franck stands in contrast to artists like Batiste, transcending the nonsense of his contemporaries with music that operates on a higher intellectual plane. His elevated compositions, best exemplified by the "Three Chorales," resonate in their distinctiveness. Especially noteworthy is Chorale No. 1 in E major, resplendent with polyphonic richness and originality, forming a triumphant conclusion anchored in E major but traversing the harmonic spectrum with impressive fluidity.
The timeless folk melody "Londonderry Air," championed as the most beautiful melody in the world by Parry, saw its first printed appearance in the mid-19th century. Renowned as "O Danny boy," the best-known text for this piece emerged from the pen of Frederick E. Weatherley. Paul Spicer's rendition titled "Dreams of Derry" showcases harmonious imagination, paying homage to Percy Grainger in a special notation marked "louden lots."
In 1799, Ludwig van Beethoven met the widow and daughters of the Count of Brunswick, becoming a cherished guest at their country estate after tutoring the countesses. Acquainted with Countess Josephine and her prospective husband, Count Joseph Deym, a collector for whom Mozart had composed three pieces for mechanical organ, Beethoven, fascinated by mechanical musical instruments, dedicated three pieces to the count's collection. The "Adagio in F major" possesses sprawling melodic lines, hinting at a slow quartet movement transformed by detailed embellishments suitable for non-human performance.
The dedication of George Thalben-Ball's "Elegy" to his predecessor at the Temple Church, Walford Davies, reveals the esteem and affection he held for him. Originally improvised after a radio broadcasted evening service, the work incorporates elements and intervals from the "Solemn Melody," crafting something refreshingly endearing.
The chaotic premiere of Edward Elgar's "Dream of Gerontius" in October 1900 wrought destructive effects on the composer, despite the devotion he poured into the work. Nevertheless, triumphs in performances across Germany, Sheffield, and the Three Choirs Festival in Worcester within the following two years managed to alleviate the memories of that dreadful first showing. Herbert Brewer's organ adaptation of "The Angel's Farewell," published by Novello, illustrates the profound simplicity and captivating essence of Elgar's musical language.
Charles-Valentin Alkan, an incredibly gifted individual from a young age, excelling at various disciplines in music, harbored close relationships with prominent figures such as Chopin and George Sand. Despite composing primarily for piano, Alkan's pieces, including his works for the pedal piano selected and arranged by his admirer César Franck, exhibit pastoral serenity and nobility, as seen in "Priére No. 11 in E major," beloved for its tranquil nobility.
Stephen Westrop © 1998