Romantic and Virtuoso Works for Organ (Volume 3) 

Jane Parker-Smith at the Organ of the Church of St. Gudula in Rhede - AVIE AV2165

Contents

WIEDERMANN: Impetuoso
LANDMANN: Variations on a theme of Handel, Op.29
BAIRSTOW: Evening Song
PARRY: Fantasia and Fugue in G
LISZT: Symphonic Poem ‘Orpheus’ tr. Jean Guillou
GÁRDONYI: Grand Choeur
SAINT-SAËNS: Deuxième Fantaisie, Op. 101
COCHEREAU: Scherzo Symphonique (1974) tr. Jeremy Filsell

What they say

"The repertoire for Vol. 3 of Parker-Smith’s series consists primarily of shorter works, which range from six to 15 minutes in length. The most extended piece is the transcription by Jean Guillou of Liszt’s symphonic poem Orpheus. Orpheus is one of Liszt’s least-complicated symphonic poems and thus works well in its organ guise, even if it is far from his most interesting piece.

Though her repertoire choices for the previous volumes have focused primarily on the 20th century, this is the first volume to include a work by a living composer: Hungarian Zsolt Gárdonyi’s Grand Choeur, which began life as a French-styled improvisation. Scherzo Symphonique is also based upon improvisation; it is a transcription from a recording by the great 20th-century organist Pierre Cochereau. He notated many works during his lifetime, but was particularly famed for the breadth and complexity of his improvisations. This particular piece was improvised by him in near-identical versions twice; organist Jeremy Filsell created a performing score from these recordings. Like nearly all of Cochereau’s works, it is an exciting piece that shows off both organ and organist extremely well. For this listener, the most pleasing “discoveries” were the pieces by Czech composer Bedřich Wiedermann and German composer Arno Landmann. The Wiedermann work is particularly characterful, and it tempers the typical passionate violence of 20th-century Czech music with some wryly humorous textures. Landmann’s Variations on a Theme of Handel (a sarabande from a keyboard suite) call to mind Landmann’s teacher Max Reger in their dense, full-featured use of the organ; they do, however, have their own personal character. The works by Bairstow and Parry display both the well-known virtues and weaknesses that run through the outputs of both composers. The Parry, however, has much to commend it (particularly the skilful and interesting fugue), placing it above the majority of his instrumental music. This writer is not a fan of Saint-Saëns, and his piece is a typical work for him; if one likes his music, though, it will appeal.

Parker-Smith’s commitment to this repertoire is obvious. She plays with palpable passion, and the organ of the church of St. Gudula in Rhede, Germany, serves the music’s needs very well. Avie’s sound and production values are strong. The previous two volumes in this series were satisfying listening experiences, and this newest addition continues that trend. In an age where the repertoire of most organ recital discs seems to retread the same well-worn ground, Parker-Smith’s industrious approach to her recital and recording programming is most welcome."

Fanfare Magazine USA
(March/April 2009)

Parker-Smith takes no prisoners when it comes to repertoire or performance. Eschewing popular showpieces, she chooses a programme of predominantly unfamiliar 20th-century works to put her and the magnificent organ of St Gudula. Rhede (Westphalia) through their paces. Parker-Smith plays with astonishing verve - she can certainly deliver the thrill factor - and Wiedermann’s Impetuoso and Cochereau's Scherzo symphonique give your speakers a work out. But she couples this with a keen ear for colour and almosphere, as in Arno Landmann's Variations on a theme of Handel. The disc is vividly recorded JN

**** Classic FM Magazine UK (May 2009)
Strongly recommended alongside the earlier volumes ... Brian Wilson

Jane Parker-Smith’s earlier recordings in this series have been generally well-received. On this new recording, as on the earlier volumes, she performs an interesting mix of the fairly familiar and the unfamiliar, from the English, French, German and other European traditions, this time on the organ of St Gudula in Rhede, a fine modern instrument, with full specification and illustrations included in the excellent booklet.

I hadn’t encountered Wiedermann (tr.1), Landmann (tr.2) or Gárdonyi (tr.6) before, but I’m pleased to have heard their music on this CD. The Landmann Variations on a Theme of Handel (tr.2), a demanding piece which brings out the glories of the organ to fine effect, deserve to be part of the regular repertoire. At 15:36, this is the longest item here, but it never outstays its welcome. The Bairstow (tr.3) and Parry (tr.4), on the other hand, are staple fare, at any rate for Anglophone organists; though we tend to associate such music with the Willis style of organ, they, too, suit the versatile Rhede organ.

Zsolt Gárdonyi’s Grand Chœur (tr.6) is a particularly interesting work; it might well have come from the pen of Widor or Vierne, by which I don’t mean to imply that it sounds derivative – in fact, it’s an impressive piece which also deserves to be part of the repertoire, though it’s surprising to hear a contemporary composer writing in a comparatively old-fashioned idiom.

I’m never sure why organists feel the need to perform transcriptions of orchestral music when there is such a wide and varied repertoire for their instrument, so I could have done without the Liszt Orpheus (tr.5) in favour of another piece from the English or French tradition. Oddly enough, in this transcription by Jean Guillou the opening of the music sounds like an original organ piece by Guillou himself or early Messiaen, so the track proves to be not as unwelcome as I had imagined, especially as Parker-Smith gets some lovely growly sounds out of the organ. By the end of the work I was even beginning to prefer this transcription to the original.

The Cochereau transcription (tr.8), on the other hand, is very well worth having: this is not a transcription of an orchestral piece but a very effective realisation by Jeremy Filsell from Cochereau’s own improvised 1974 recording of his Scherzo symphonique. Not for nothing was Cochereau dubbed the organist’s organist and this piece rounds off the recital very effectively.

Parker-Smith’s performances throughout are thoroughly idiomatic and the recording captures the full range of the organ very well. As early as her first recording, aged 23 (for Music for Pleasure on the Westminster Cathedral Organ, an LP which sold for 71p!) her reputation has been based on her love of big romantic sounds and her ability to manage them, and the new CD is no exception. She’s recorded for several labels since then, notably recently for Avie; I must catch up with the earlier Avie volumes which I missed. Her reputation alone will probably sell this new recording; those who buy it on the strength of that reputation will not be disappointed.

This is an interesting programme, excellently performed and recorded and well presented, as were the earlier volumes. At 77:04, the CD is well filled, too.

Brian Wilson
MusicWeb International (April 2009)