New William Drake organ at Chelsea Old Church

Celebrity Opening Concert – William Drake organ
Nathan Laube

Chelsea Old Church, 19 January 2020

Opening recitals on new organs raise several issues. The performance must, of course, be excellent in itself, regardless of the occasion. But the organ also needs to be demonstrated in a manner that future organ recitals do not need to. I have given several recitals (including, for example, at St John’s, Smith Square) where I have used little more than half of the available stops, to produce a sound that the composer might just recognise. But for an opening recital, a thorough exploration of the sounds of the new instrument is expected. If the organ is built in a specific historic style, the expectation may be that the music of that period dominates. But many organs are built in an eclectic style, capable, in theory, of coping with music from several different historical periods. Continue reading

Happy Birthday, J S Bach!

Early Music Day
Saturday 21 March 2020

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Happy Birthday, J S Bach!

St Giles-in-the-Fields
St Giles High Street, London WC2H 8LG
(Close to Tottenham Court Road underground)

Andrew Benson-Wilson (organ)
Poppy Walshaw (cello), Annabel Knight (flute)
Art of Moog: 21st Century Hyper-Bach on Synthesizers

St Giles organ

Three informal 45′ afternoon Bach organ and solo instrument recitals
(Free entry – donations welcomed)

4pm. Andrew Benson-Wilson + Poppy Walshaw
(Cello Suite 2 in d)
5pm. Andrew Benson-Wilson + Annabel Knight
(Flute Partita)
6pm. Andrew Benson-Wilson + Poppy Walshaw
(Cello Suite 3 in C)

Special evening concert @ 7.30
(Tickets £15 from Eventbrite or on the door)

ART OF MOOG
21st-Century Hyper-Bach on Synthesizers

(combined with the historic St Giles-in-the-Fields organ,
with pipework dating back to Bach’s time) Continue reading

Bach: Christmas Oratorio

Bach: Christmas Oratorio (Parts 1, 2, 3, 6)
The Choir of Trinity College, Cambridge, Stephen Layton

Orchestra of the Age of Enlightenment
St John’s, Smith Square, 22 December 2019

For many years now, the highlights of the London Christmas and Easter concert season has been the final two concerts of the St John’s, Smith Square Christmas/Easter festivals. One is usually Bach, the other Messiah, both directed by Stephen Layton, the first with his student Trinity College choir, the second with his professional vocal group Polyphony. In recent years both have been accompanied by the period instruments of the Orchestra of the Age of Enlightenment. Both pairs of concerts sell out way in advance, the student choirs helping with audience numbers by rallying parents and friends. Continue reading

Vox Luminis: Dixit Dominus

Dixit Dominus
Vox Luminis, Lionel Meunier
St John’s, Smith Square, 18 December 2019

Attrib. Buxtehude? Magnificat BuxWV Anhang 1
Bach Nun komm der heiden Heiland BWV 61
Handel Dixit Dominus HWV 232

With the exception of Bach’s Advent cantata Nun komm der heiden Heiland, this was a St John’s, Smith Square Christmas Festival event refreshingly devoid of any specific reference to Christmas. The renown Belgian group Vox Luminis and their director, Lionel Meunier, made a very welcome return for a performance of music from German composers of the 17th and early 18th century, each writing in different styles and for different audiences. Continue reading

La Serenissima: The Godfather

The Godfather
Masters of the German & Italian Baroque
La Serenissima, Adrian Chandler
Signum Classics SIGCD602. 66’09

For long the undoubted champions of the music of Vivaldi, as their name suggests, La Serenissima are spreading their musical wings to explore the musical triumvirate of Telemann, Pisendel and JS Bach, all three closely connected, together with the composers Fasch, Vivaldi and Brescianello, who also had links with the principal trio. As La Serenissima note on their website, the links are that Pisendel was godfather to one of Telemann’s children; Telemann was godfather to CPE Bach;. JS Bach admired both Pisendel and Telemann and composed for the violinist Pisendel; Vivaldi helped Pisendel with his A minor concerto movement; Fasch was a friend of Pisendel and Telemann, and Pisendel played concertos by Brescianello, an Italian who helped to spread disseminate Italian instrumental music throughout the German-speaking lands. Continue reading

Bach: Violin Concertos

Bach: Violin Concertos
Kati Debretzeni (violin)

English Baroque Soloists, Sir John Eliot Gardiner
SDG732. 70’15

This recording has the makings of becoming an all-time favourite version of the Bach Violin Concertos. Quite apart from the exceptional playing by Kati Debretzeni, we get the bonus of two additional concertos. In addition to the well-known A minor and E major, (BWV 1041/1042) concertos, Kati gives us two others, the disputed D minor (BWV 1052) and the world premiere recording of her own arrangement of the E major harpsichord concerto (BMV 1053), transposed down to D. The detailed programme notes give full details of the rationale and implications of the two additional concertos, and their arrangements for violin. Continue reading

J S Bach: Harmonic Seasons

J S Bach: Harmonic Season
Manuel Tomadin
1737 Treutmann organ, Stiftskirche Grauhof bei Goslar, Germany
Brilliant Classics 95786. 79’471

The title of this recording reflects the way the 12 pieces are arranged, reflecting Bach’s own predilection for grouping pieces together in organised sets. In this case, the “Seasons” are indeed “Harmonic”. The four groups of pieces each start with a Prelude and Fugue or Fantasia, and the groups descend in key order through the “perfect, divine triad” from G to E to C, the first major, the subsequent two both in the minor key. The final tonal and harmonic resolution comes with the concluding C major Prelude and Fugue. Continue reading

Korkyra Baroque Festival

Korkyra Baroque Festival
Korčula, Croatia
31 August – 14 September 2019

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The Korkyra Baroque Festival (Korculanski Barokni Festival) was founded in 2012 on the delightful Adriatic island of Korčula (aka Korkyra, Korcula) on the Dalmatian archipelago between Split and Dubrovnik in the southern part of Croatia. Drawing attention both to music and the cultural and artistic heritage of Korčula, the festival runs annually for about two weeks at the beginning of September. Concerts (of just over an hour in length) are generally first performed in the historic fortified town of Korčula and are then repeated in other towns on the island, on nearby islands,, and on the Peljesac peninsula.

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Prom 47: Bach & Bruckner

Prom 47: Bach & Bruckner
Gewandhausorchester Leipzig, Andris Nelsons
Michael Schönheit, organ
Royal Albert Hall, 23 August 2019

J S Bach
Fantasia in G minor, BWV 542, Jesus bleibet meine Freude (arr: Schmidt-Mannheim),
Prelude in E flat major, BWV 552i, Wachet auf, ruft uns die Stimme, BWV 645,
Fugue in E flat major, BWV 552ii
Anton Bruckner
Symphony No 8 in C Minor (1890 Novak version)

The idea of pairing Bruckner with organ music at the Proms is not new and makes sense, not least because Bruckner gave several organ recitals in the Royal Albert Hall. Bearing in mind that most people would have come to this Prom to hear Bruckner 8 rather than a short sequence of well-known organ works, there seems to have been a misjudgement in both the choice of organ pieces and the performance. The Royal Albert Hall organ is capable of the most enormous sounds, with power that will easily out-blast the largest symphony orchestra, as evidenced during the Glagolitic Mass in Prom 1 (reviewed here). It is also capable of producing a vague impression of the sort of sound that Bach might have known, albeit at considerable loss of power and aural presence. Michael Schönheit, the organist of the Leipzig Gewandhaus, fell into the uncomfortable gap between these two possibilities, choosing registrations that muddied the music but made no real aural presence in the hall. Continue reading

Prom 21: Olivier Latry

Prom 21: The Art of Transcription
Olivier Latry, organ
Royal Albert Hall, 4 August 2019

In what must be the most inept bit of programming in musical history, the BBC Proms has seen fit, for yet another year, to programme the only organ recital of the Proms at 11am on a Sunday, when most organists will be earning a pittance playing for church services. I cannot think of another instrument where the choice of a specific day and time could exclude a key part of the potential audience. That said, there was a pretty impressive audience for this concert, far more than at the previous Sunday’s evening Prom of Messiaen’s Des canyons aux étoiles. And what a treat they had. Olivier Latry is one of the organists at Notre Dame who when not on his week’s turn of duty there has built an enviable reputation at a touring recitalist and teacher. His programme focused on the art of transcription, an aspect of organ performance that dates back to early Renaissance times but reached its peak in England in the 19th century when W T Best became Liverpool Corporation Organists (in 1855) and, over a period spanning around 40 years, gave three organ recitals a week in St George’s Hall. He was the first organist to give a recital in the Royal Albert Hall, in 1871.

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Vox Luminis: Kantaten der Bach Familie

Kantaten der Bach Familie 
HeinrichJohann ChristophJohann Michael & Johann Sebastian Bach
Vox Luminis, Lionel Meunier
Ricercar  RIC 401. 66’30

Since Vox Luminis was formed around 15 years ago, they have established themselves as one of the leading performers of early music, usually just with choir and continuo, but also appearing with up to a full orchestra. Under their director, Lionel Meunier, their many award-winning CDs have highlighted fascinating areas of the repertoire, as does this one with its exploration of the sacred cantatas of Bach’s earlier family. Although we have long given up the notion that Bach sprung in the musical world from nowhere, our knowledge of the pre-Bach Bach’s and the musical world in Thuringia and Saxony that nurtured the Bach brood over many generations is still rather limited. This recording reveals just some of the extraordinary riches that await exploration from the 17th century Bachs. The focus is on three pre-JS Bach’s, Heinrich (1615-92), first cousin of JA BAch’s father, and his two sons Johann Christoph (1642-1703), and Johann Michael (1648-94), whose daughter, Maria Barbara married her cousin JS Bach. 

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St. Anne’s International Bach Festival

Music-at-Hill Golden Jubilee
24th St. Anne’s International Bach Festival

St. Mary-at-Hill, Lovat Lane, City of London
19 & 26 July 2019

The Music-at-Hill Concert Society was founded 50 years ago as the St Anne’s Music Society based in the church of St Anne & Agnes Church in Gresham Street, then the home of London’s Lutheran congregation. The church and the music society moved to St Mary-at-Hill in 2013. Music-at-Hill arranges weekly Friday lunchtime concerts, often of early music. During the four weeks in July leading up to the date of Bach’s death, they present the annual St. Anne’s International Bach Festival now in its 24th year, run in conjunction with its partner organisation, the City Bach Collective, who run regular Bach Cantatas for the St Anne’s Lutheran congregation in St Mary-at-Hill. The final two Fridays of the four-week festival featured two lunchtime recitals and a Gala Bach Concerto Finale from the City Bach Collective.

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Andrew Benson-Wilson plays Bach: influenced by Reincken

Mayfair Organ Concerts
The Grosvenor Chapel
South Audley Street, Mayfair, London W1K 2PA
Tuesday 13 August 2019, 1:10

Andrew Benson-Wilson
plays music by
J S Bach
influenced by Johann Adam Reincken

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Johann Adam Reincken (1643-1722) was organist of Hamburg’s famous Katharinenkirche and a close friend of Buxtehude.  This recital is linked to a recital of his music given earlier this year at St George’s, Hanover Square. That recital included his monumental chorale fantasia on An Wasserflüssen Babylon composed around 1650. At around 20 minutes long, it the longest known piece of its type in the whole 17th century North German repertoire. It was known by Bach who, while at school in Luneburg, aged around 15 copied the entire piece out from a copy owned by Georg Böhm. It is believed that he also travelled to Hamburg to hear Reincken play. In 1720, shortly before Reincken’s death, Bach visited Hamburg and improvised a lengthy fantasia on the same chorale in homage to Reincken, who commented: “I thought that this art was dead, but I see that it lives in you”. Bach also transcribed several of Reincken’s instrumental pieces for keyboard.

This recital includes one of Bach’s Reincken transcriptions, a Toccata that is clearly influenced by Reincken’s dramatic style, and Bach’s chorale prelude on An Wasserflüssen Babylon, which includes a very obvious reference to Reincken’s chorale fantasia. It ends with Bach’s giant Fantasia in G minor, which may have been played during Bach’s 1720 visit to Hamburg. The accompanying Fugue is based on a popular Dutch tune and might have been Bach’s homage to Reincken, who was born in The Netherlands. 

Toccata in D minor  BWV 913
An Wasserflüssen Babylon BWV 653
Sonata in A minor (after Reincken
Hortus musicus) BWV 965
Fantasia in G minor BWV 542i

The organ is by William Drake
Admission is free, with a retiring collection

York Early Music Festival

York Early Music Festival
Innovation: the Shock of the New!
10-12 July

My principal reason for going to York was to review the biennial York Early Music International Young Artists Competition which took place over the last three days of the annual York Early Music Festival. The Festival lasted from 5 to 13 July and was given under the banner of Innovation: the Shock of the New! taking inspiration from the 500th anniversary of Leonardo da Vinci. Alongside talks and community events were a range of concerts, mostly from York-connected and UK ensembles, but with welcome continental visitors including Concerto de Margherita, one of the EEEmerging groups, fortepianist Andreas Staier, the Italian/Jewish Ensemble Lucidarium, and the distinguished Belgian consort Vox Luminis. I was able to attend the last four of the Festival concerts, together with the three days of the Competition.

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Favourites: Telemann and his Subscribers

‘Favourites’
Telemann and his Subscribers
Tabea Debus, recorder
TYXart TXA18107. 66’34

Recorder player Tabea Debus is one of the most impressive young musicians of her generation. She has already featured many times in this review website for her CDs and concert performances (see here). Her latest recording is a clever combination of two genuine Telemann pieces for recorder (the Sonata in C, TWV 41:C2 and Concerto in F, TWV 51:F1) forming a sandwich with a filling of four suites of pieces collated and arranged by Tabea Debus from Telemann and three of the composers who subscribed to Telemann’s music publications. Telemann was one of the pioneers of music publishing funded by inviting pre-publication subscriptions – an early form of crowd-funding. Amongst those subscribers were Bach, Handel and Blavet, the three composers whose pieces are collected into suites on this recording. Continue reading

Art of Moog: Bach and beats

Art of Moog: Bach & beats
Waterloo Festival
The Cello Factory, Waterloo, 18 June 2019

Bach was influenced by a wide range of musical styles of his time, travelling to learn about other musical traditions and copying manuscripts of other composers. If he had been around, not in the 1700s, but in the 1960s, when the likes of Pink Floyd, Keith Emmerson, and Rick Wakeman were active; when Wendy Carlos’s ‘Switched-On Bach’ was released and, a few years later, when Kraftwerk highlighted their genre of electronic synth-pop, then he would surely have appreciated the world of synthesised music. Indeed, his own instrument, the organ, is a giant wind-blown synthesiser, with the names and sounds of most of its stops replicating Renaissance instruments. The four-strong group Art of Moog base their music on Bach, Wendy Carlos and Kraftwerk under the banner of ’21st-century Hyper-Bach on Synthesizers’.

Their concert for the Waterloo Festival was given in the delightful Cello Factory, an art gallery in the streets close to London’s Waterloo Station. Three distinguished early-music harpsichord players (Robin Bigwood, Steven Devine & Marin Perkins) gathered around a collection of keyboards, synthesisers, vocoders and other complicated looking little boxes, together with the equally distinguished recorder player Annabel Knight, who clipped an EWI5000 (an Electronic Wind Instrument) onto a lanyard around her neck. This was not going to be a ‘normal’ period instrument early music event – indeed, we were told that what we were about to hear was “absolutely bonkers”. Continue reading

Bach: Das Wohltemperierte Klavier I

Bach: Das Wohltemperierte Klavier I
Steven Devine, harpsichord
Resonus Classics RES10239. 2 CDs. 55’06+56.13

This is the first of two double-CD volumes of Bach’s Das Wohltemperierte Klavier (The Well-Tempered Clavier), and covers the Preludes and Fugues 1 to 24 (BWV846-869) that form Book 1 of ‘The 48’. This musically intelligent and absorbing recording by Steven Devine demonstrates that performing Bach (or any music, for that matter) is far more the merely playing all the notes in the right order. His subtle use of articulation and rhetoric and his understanding of the Baroque idea of building up musical ideas from small motifs make for an absorbing recording that will invite repeated listening. He manages to negotiate that fine line between presenting a personal interpretation and those over-mannered performances that might be fine for a live recital but is usually off-putting on the repeat listening that a recording allows. With obvious respect to Bach and these extraordinary miniatures of musical craft, Devine brings a wide range of interpretations, matching the underlying mood of each Prelude and Fugue perfectly. Continue reading

Bach: St John & Matthew Passions

JS Bach: St John Passion
 The Choir of Westminster Abbey, St James’ Baroque, James O’Donnell
Westminster Abbey. 16 April 2019

JS Bach: St Matthew Passion
Ex Cathedra, Jeffrey Skidmore
St John’s, Smith Square. 17 April 2019

Hearing Bach’s two best-known Passions on successive evenings in two nearby venues, and with contrasting performers, gave me a chance to compare aspects of the two Passions and performing styles. One was given by a choir with a 600-year history, the other by a choir approaching its 50th anniversary.  Both used period instrument orchestras. They were given in very different conditions to the performances of Bach’s day, and to very different groups of people – Bach to an involved congregation with a reasonable unified belief system, us as a passive audience with a variety of beliefs. However much a present-day believer might know the story that Bach sets to music, few will understand the context of early 18th-century Lutheran theological thought in Saxony. Non-believers or doubters will find the text at best puzzling, and at worse an illogical fabrication based on generations of earlier and equally illogical myth-makers. Continue reading

Andrew Benson-Wilson plays Reincken

Mayfair Organ Concerts
Andrew Benson-Wilson plays 
Johann Adam Reincken (1643-1722)
St George’s, Hanover Square, London W1S 1FX
30 April 2019 @ 1:10pm 

Toccata in G (Andreas Bach Book)
Toccata in A (Anon?)
Chorale Fantasia: An Wasserflüssen Babylon

Johann Adam Reincken was one of the most important and influential 17th-century North German organist-composers. He forms a unique link between the Sweelinck influenced organists of the earlier part of the century and JS Bach. Little is known about his life, and very few of his organ compositions survive. He was born to North German parents in Deventer in The Netherlands around 1643. An earlier supposed birthdate of 1623 is now accepted as incorrect. He moved to Hamburg in 1654, aged just 11, to study with the famed organist of the Katharinenkirche, Heinrich Scheidemann, a pupil of Sweelinck. After a brief return to Deventer, he came back to Hamburg in 1659 as Scheidemann’s assistant, replacing him as organist in 1663 on Scheidemann’s death. As was the custom of the time, he married one of Scheidemann’s daughters in 1665. He remained there for 60 years until his death in 1722. As well as his church duties, he co-founded the Hamburg Opera and was involved in the city’s musical life. He is known from two pictures dating from around 1674; the portrait painting and the now well-known ‘Musical Company’ painting by Johannes Voorhout.

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Bach: Partitas

J S Bach: Partitas Clavier-Übung I
Menno van Delft, clavichord
Resonus Classics. RES10212. 2 CDs: 59’21+73.49

Clavier-Übung I – Partitas BWV 825-830

Bach’s Six Partitas were published in 1731 under the title of  Clavier-Übung, the first of four publications under that name, culminating in the monumental third and fourth publications, the ‘German Organ Mass’ and the Goldberg Variations, Clavier-Übung VI. Each Partita had been published separately between the years of 1726 and 1730 but seem to have been intended as a combined set of six, as was the pattern of many such musical collections of the time, including Bach’s own preceding English and French Suites. They are the only one of the four Clavier-Übung set that does not specify a particular keyboard instrument, but Menno van Delft makes a convincing argument for the use of a clavichord, the domestic instrument of choice, particularly for organists, rather than a harpsichord. Continue reading

Bach: Chorale Partitas

J S Bach
Chorale Partitas, BWV 766-768 & 770

Stephen Farr, organ
Resonus Classics RES10120. 55’46

Ach, was soll ich Sünder machen BWV 770
Christ, der du bist der helle Tag BWV 766
O Gott, du frommer Gott BWV 767
Sei gegrüßet, Jesu gütig BWV 768

Stephen Farr continues his series of Bach organ recordings with the four Chorale Partitas – variations sets of Lutheran chorales. None of them exists in autograph, so dating is problematical. They are almost certainly early works, possibly composed around the time Bach was at Arnstadt, or perhaps even earlier while Bach was under the influence of Georg Böhm, who Bach knew, and probably studied with while he was at school in Lüneburg. Böhm wrote many variation sets (as did Pachbel), a compositional style that goes back the Sweelinck, the Amsterdam instigator of the North German/Hamburg school of the early to mid-17th-century. It is not clear whether Bach’s examples were intended for performance during church services or, indeed, on the organ. Most are equally suitable for clavichord or harpsichord in a domestic setting. Continue reading

Wednesdays at 5.55

Wednesdays at 5.55
Organ Recitals at the Royal Festival Hall
W Harry Hoyle
Clontarf Press 2018
Hardback. 230 pages, 235x156mm, ISBN 978-1-999685706

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For many organ music lovers, the phrase Wednesdays at 5.55 will have a particular resonance. Between 1954 and 1989, London’s Royal Festival Hall held early evening organ recitals on the influential and controversial Harrison & Harrison organ, inaugurated in 1954. During those years there were a total of 545 organ recitals given by nearly 200 international organists attracting at its peak audiences of around 1500. This record of these recitals, and the music and performers involved, is very clearly a labour of love for the author, W Harry Hoyle. The publicity blurb sums up the book well – “Drawing on the Southbank Centre archive, private paper collections and the memories of many performers, in this comprehensive and engaging book he tells the story of how the series was planned, which organists performed, the repertoire they played and how the recitals were received by the press and by the public. He also reviews the social changes that led to the ending of ‘Wednesdays at 5.55’ and the search for the best way to present the highlights of the organ repertoire on this unique instrument“. And that is exactly what it does, in an absorbing and informative read. Continue reading

Baroque at the Edge

Baroque at the Edge
Saint James, Clerkenwell, St Luke’s Old Street
Saturday 6 January 2019

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With a headline of “Imagine if Bach was a jazzman, Purcell a folk-fiddler, or Monteverdi a minimalist…”, the second annual Baroque at the Edge festival made a fitting opening to the 2019 London musical calendar. Founded in 2018 by Lindsay Kemp and Lucy Bending, the team behind the London Festival of Baroque Music and the earlier Lufthansa Festival, the festival invites musicians with a classical, jazz, or folk background to “take the music of the Baroque and see where it leads them” with the promise of “No rules, no programme notes, no lectures: all you need to know is how to listen”. The festival was spread over a three day weekend, with most of the events taking place on Saturday, 6 January, after a Friday night piano recital and before a Sunday family folksinging workshop and linked lunchtime concert. Continue reading

Bach: Christmas Oratorio

Bach: Christmas Oratorio
Choir of Trinity College Cambridge, Stephen Layton

Orchestra of the Age of Enlightenment
St John’s, Smith Square, 22 December 2018

Whatever joys the St John’s Smith Square Christmas Festival comes up with year after year (this is the 33rd), the climax comes with the final two (always sold-out) concerts conducted by the festival director, Stephen Layton, firstly with his own Trinity College Cambridge choir, and then with his professional choir, Polyphony. In recent years both concerts have been accompanied by the Orchestra of the Age of Enlightenment (OAE). The first of the two concerts is usually Bach’s Christmas Oratorio (Parts 1, 2, 3 & 6), sung by the student choir of Trinity College, the second, Messiah, sung by Polyphony.

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Gesualdo Six: There is no rose

There is no rose
The Gesualdo Six, Owain Park
St John’s, Smith Square, 14 December 2018

Although only formed four years ago, The Gesualdo Six have gained an impressive following, not least at St John’s, Smith Square where they were one of the four members of the second Young Artists Scheme in 2015/16. They used that residency to launch their Composition Competition at SJSS, with the second following in 2019. For their concert in this year’s SJSS Christmas Festival, they gave a mixed programme of Christmas music ranging from plainchant and the early 15th century Trinity Carol Roll and music by Taverner and Tallis, through to living composers, including their own director Owain Park. Continue reading

Il Santissimo Natale

Il Santissimo Natale
The English Concert & Choir, Laurence Cummings
St John’s, Smith Square, 12 December 2018

The 33rd St John’s, Smith Square Christmas Festival continued with a very welcome first-half performance (by The English Concert and Choir, directed by Laurence Cummings) of Alessandro Scarlatti’s Missa per il Santíssimo Natale. Scarlatti is usually overlooked in comparison with other composers, both in his many operas and his few compositions for the church. His il Santíssimo Natal Mass was composed in 1707, during Scarlatti’s brief time as maestro di cappella at the Basilica of S Maria Maggiore in Rome. The two jubilant Kyries contrasted with a reflective central Christe. The gentle mood continued into the opening of the Gloria, before the bouncy rhythms returned. As in the later parts of the Mass, frequent changes of mood were a compositional feature, dissolving from one to the other with delightful ease, helped by some well-judged directed from conductor Laurence Cummings. The final Agnus sequence is a gently expansive movement, providing a suitably reflective conclusion to an impressive composition, Scarlatti’s operatic experience never far from the surface, without imposing. Continue reading

Bach: St Matthew Passion

Bach: St Matthew Passion
English Touring Opera
Temple Church, London. 18 October 2018

English Touring Opera (ETO) is an ambitious organisation that run extensive annual tours of staged operas around the UK, alongside one-off projects like their current adaptation of Bach’s St Matthew Passion. They start their tours in London, usually at the Hackney Empire, where they have just staged Radamisto and a triple-bill of Dido and Aeneas, Carissimi’s Jonas, and Gesualdo madrigals. Details of their current tour can be found here. For the Matthew Passion, as in previous such projects, they enrol local amateur choirs, community groups, and schools. For their London performance, these were the Collegium Musicum of London Chamber Choir (whose musical director is assistant organist at The Temple Church) and an almost exclusively female flock of children from the Holy Trinity and Saint Silas Church of England Primary School in Camden. The orchestra was the professional period instrument Old Street Band. Continue reading

Zachow: Complete Organ Works

Friedrich Wilhelm Zachow: Complete Organ Works
Chorale Settings • Chorale Partitas • Free Organ Works
144 pages  • ISMN: 979-0-001-14049-2 • Softbound
Edition Schott ED 9922

Friedrich Wilhelm Zachow (1663-1712) is best known as the teacher of the young Handel in their hometown of Halle. He was organist of the principal city church, the Marienkirche, also known as the Marktkirche Unser Lieben Frauen and Liebfrauenkirche, a post held earlier in the 17th century by Samuel Scheidt.  The little 1664 organ on a gallery above the altar that Zachow and Handel certainly knew still exists. JS Bach was offered the post in succession to Zachow, but turned it down, leaving it until 1746 for his son WF Bach to eventually become the organist. Zachow’s father was from nearby Leipzig where he was town piper. His church music was criticised as being too long and complicated by the pietest clergy, who preferred something more approachable. He taught Handel violin, oboe organ, and harpsichord along with music theory. He teaching was clearly successful, as Handel became organist of the Halle Cathedral aged just 17. His later compositions show several influences from Zachow, as well as borrowings.

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RFH International Organ Series: Renée Anne Louprette

Renée Anne Louprette, organ
Royal Festival Hall, 19 September 2018

JS Bach: Prelude and Fugue in G
Marin Marais: Suite from Alcyone (arr. Louprette)
Jehan Alain: Variations sur un thème de Clément Jannequin
Ad Wammes: Mytò
Nadia Boulanger: Improvisation from 3 Pièces
Duruflé: Suite, Op.5

The Royal Festival Hall’s ‘International Organ Series‘, most of which is made up of UK, rather than international organists, made up for that fact by replacing an indisposed UK performer with Renée Anne Louprette, an American organist who spent some of her student days in London. She has held posts in several important New York churches, alongside academic posts, and is now University Organist and Coordinator of the Organ Department at the Rutgers University Mason Gross School of the Arts in New Jersey.

Her largely French programme opened with Bach’s flamboyant Prelude and Fugue in G (BWV 541), a distinctly non-French piece. From the very first few notes, it was clear that Renée Anne Louprette is an outstanding Bach interpreter. Her sense of touch, rhetoric and the way she sensitively articulated the opening flourish and the repeated notes in both Prelude and Fugue showed a real (and sadly rather rare) understanding of Baroque concepts such as the hierarchy of the bar. Her choice of registration was spot-on. Continue reading