Romantic Organ Masterworks, Leeds Parish Church

Romantic Organ Masterworks. 26th August 2012. Leeds Parish Church. Review by Daniel Potts (@danpotts78) …

That low period of melancholy between the traditional Sunday roast and the night of near insomnia that preceeds the dreaded return to work or school is a common source of despondency. How uplifting and refreshing, then, to be saved this regular spiritual morass by that far less frequent but equally regular buffer: August Monday. Now double the delight in the case of this reviewer, for he attended the last organ recital in the Romantic Organ Masterwork series in August at Leeds Parish Church (soon to be renamed Leeds Minster). The seed of the appeal of any musical event at LPC was sown recently by the Battle of the Organs event in June. The coupling of top-draw music selection and performance with tongue-in-cheek informality guaranteed the return of at least one attendee to a site of meditative ecclesiastical transfiguration – an inherited reluctance even to cross the threshold of a church was largely quashed.

Although this was a more formal event, where informality had previously soothed a prejudiced impression of severity, a sense of intimacy and friendliness served the same function. Warm greetings on entering, a much smaller audience, and an invitation to partake of cheese and wine after the music engaged the music lover with familial charm. The formality came during the recital itself where applause was restricted to the end of the final piece. The contextual information for the individual works was provided in booklets. The organist himself, Dr. Simon Lindley, gave a general introduction and began the proceedings with a combination of eloquent, dry wit and that familial friendliness already mentioned.

As though to compound the tension created by the formality of not being able to express positive appreciation for, what was, a great program conveyed with masterly measure and style, the imposing, mock-Gothic outer design of the organ itself impressed with grandiose charisma. Somewhat reminiscent of one of Geiger’s spacecrafts, an amusing sense of ambivalence could be felt owing to the knowledge that the apparently benevolent ‘pilot’ was by no means possessed of those hostile and predatory qualities one associates with one of Geiger’s. Indeed, we were, in fact, most kindly treated to eight pieces in all.

Elgar’s Imperial March was the opener and an excellent choice for this function. An arresting tour of what seemed ironic nostalgia, especially given the familial intimacy of the event, compounded the composer’s ambivalence toward such associations. Sequences of suspensions, typical of the composer, were played with unique delicacy of measure and never pulled about with vulgarity. Sections contrasting in timbre, showing off the versatility of the organ, were lent modest charm in being arranged for the instrument. Nevertheless, it was a stirring, heart-swelling experience. Timbral contrasts were more pronounced, and indeed more impressive in Saint-Saens’ Fantasie I in E Flat. Offbeat, piano, rhythmic regularity – and there was no hint of deviation from this regularity – was an anodyne opening passage. This led to something of a fugue, or should I say fugato section. Where this might have disappointed for being too short, as happens in some of Beethoven’s liturgical, choral work, the cadential passage confirming its close was so firmly and impressively declared that a negative impression was averted. Stirred by rising sequences of progressions, such as partial cycles of fifths, we were led to a balanced ritardando at the close.

Willan’s Five Preludes on Plainchant Melodies was a tour of arresting though blended contrasts. At times beautifully overwhelming for the multi-textural writing in the first and last movements, intriguing and unfamiliar timbral oddities soothed over gracefully executed sustained pedal notes in the inner three. This serious and contemplative offering was followed with light relief. Inspiring memories of the Home Service in some audience members, and merely evoking the recent past in others by association with antique media, Eric Coates’s Knightsbridge March rang out. The piece was the signature tune of BBC Radio programme, In Town Tonight. Where in some arrangements of orchestral works for organ the instrument brings modesty, the reverse was the case here. It was both grandiose and gay.

The two pieces that followed Coates’s were a delight and stood out from the rest. The first came from the pen of that son of Bradford, Delius: The Walk to the Paradise Garden [A Village Romeo and Juliet]. We are informed that The Paradise Garden of the title has nothing to do with heaven, but is a village inn in towards which two lovers stroll. Here we began with innocence, conveyed both in the choice of timbre and simplicity of texture. This was followed, with swell and crescendo, by a very earnest passion. Reflection and meditation came next with a hint of resignation, only to be followed by more passion, this time pained. Again resignation came, this time total, conveyed with the use of falling suspensions expressed coolly with great measure. The penultimate work was Leroy Anderson’s Forgotten Dreams. The beautifully phrased detail of light treble passages, played with the lightness and unflinching regularity demanded by the piece opened the listener to a completely different world of sound. The piece is also highly recognisable. It seems likely that it has been used on television.

A cathartic audience release from that element of silent formality mentioned earlier came in the form of musical, vocal participation. Hubert Parry’s setting of Jerusalem was our obligation, and pleasure. The much warranted and needed applause followed. Where this small element of formality adds to the intensity with which the music is felt, it might discourage newcomers. A lack of familiarity with such procedures can be felt to distance such an event. However, the friendliness and hospitality works against this; and events such as Battle of the Organs temper it in the long term. These recitals seem to take place every Sunday and are well worth a visit.