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|12th November 2015||Canticum Choir conducted by Mark Forkgen, St. Paul's Knightsbridge
JUBILATE DEO (choir & organ - Opus 406* commissioned by Abington Presbyterian Church, Penn. USA 1990)
FESTIVAL MASS (a cappella 8-part double choir - Opus 377* commissioned by The Three Choirs Festival, Worcester 1987)
THE RISE OF THE HOUSE OF USHER (organ solo - Opus 532* (commissioned for Dame Gillan Weir by The Usher Hall, Edinburgh 2003)
WALKING IN THE AIR (a cappella choir - Opus 585* commissioned by the Stockholm Boys Choir 2007)
MOTET: GOD BE MERCIFUL UNTO US AND BLESS US (a cappella choir - Opus 494 - commissioned by St. Margaret's Westminster & 1st performed there in 1996)
STILL FALLS THE RAIN (choir & organ - Opus 495* - commissioned by Chester Bach Singers 1997)
A TOCCATA OF GALUPPI'S (solo voice & harpsichord - Opus 263 - commissioned and 1st performed by Michael Leighton Jones, baritone with Howard Blake, harpsichord, on BBC Radio 3 1978 - 1st London concert performance)
SONGS OF TRUTH AND GLORY (choir & organ - Opus 546* - The Elgar Commission for the Worcester Three Choirs Festival 2005)
* = 1st London performance
Although born in New Zealand, Gillian Weir has lived in the UK since she arrived in Britain as a 20-year-old student to study at the Royal Schools of Music in London. She has become one of the world's most outstanding organists, which she amply illustrated this evening. She successfully used her skills to achieve the main aim of this recital, namely, to show off the outstanding features of the Norman and Beard pipe organ, built and installed in the Usher Hall in 1914 and now beautifully restored by Harrison and Harrison, after years of neglect followed by many years of campaigning and fund-raising by a group of enthusiasts and subsequently the City of Edinburgh Council.
Dame Gillian illustrated, through her choice of programme, just what a beautiful instrument this is and what a useful addition to the Edinburgh Musical scene it will be. No major work was played. The choice of short pieces, including some movements from suites, was ideal for showing off the many different textures, mixtures of sounds, variations in volume, and all the other features of the organ. There is no doubt that this instrument is most suited to the 19th and 20th century romantic and modern repertoires, as was shown by the programme and the choice of pieces for, or including, the organ in its inaugural recital. However, I am sure that, with judicious registration, some of the baroque repertoire will eventually be played. Her clear and crisp interpretation of the Bach Trio Sonata, the only baroque piece in the programme, amply illustrated this.
However, to start at the beginning, the first half of the recital emphasised the range and capabilities of the restored Usher Hall organ instrument. It opened with the World Premiere of a piece specially written for this evening by Howard Blake, The rise of the House of Usher. It was based on a reversed version of Edgar Allan Poe's story The fall of the House of Usher and started with a slow, brooding solo on the pedals, using the 32 foot stop, which was to play a very prominent part during the evening. The piece gradually built up, in texture and sonority, to reach a glorious climax which filled the Usher Hall with the marvellous sound of the full organ. A fitting start to the evening.
It isn't often you hear a classical concert audience actually laugh out loud but, during Ives' Variations on the hymn tune 'America', that happened here tonight. This hymn tune, better known here as God Save the Queen, really is an irreverent work, written when he was only 17 but already showing the genius he was, producing ironic, comic, satiric, lyric and contentious music, all at the same time. This was followed by the Bach. The first half ended with a piece by Marcel Dupré, one of France's leading organist-composers during the 20th century, again showing off the pedal department.
Lionel Rogg's transcription of Liszt's virtuoso piano piece, St François de Paule marchant sur les flots, a deeply religious work, was a fascinating foretaste of the Messiaen piece played in the second half. My companion said the Messiaen suggested light streaming through a stained glass window, which is also what the Mulet piece "Rosace" beautifully illustrated: sunlight streaming through the tracery of a rose window, the dust dancing in the beams, and the colours tinting the stone floor of the church.
The second half was much more atmospheric and opened with the three movement work by Healey Willan, which again showed off the pedal department, especially in the Passacaglia, and which, overall, was very reminiscent of Elgar. It culminated in a beautiful full organ chord which filled the Hall with a glorious sound. This was followed by Rosace and then Naïades, a piece by another 20th century French Master, Vierne. This was a beautiful representation of water nymphs and one could easily imagine them gambolling in the rippling waters.
After the Messiaen came Moto ostinato by the living Czech composer, Petr Eben, a piece inspired by the Sunday liturgical music culminating in the plainsong hymn Salve Reginasoaring above the full organ. The recital finished with a work by another living composer, the Swiss Guy Bovet. This was the Hamburger Totentanz, one of three preludes based on improvisations performed in Hamburg with other organists. which Gillian Weir described as "the organist's Bolero" in her programme notes. Hidden, well hidden I must say, in the music were musical quotations from Offenbach, Beethoven and Wagner, but the overall effect of the "big crescendo on an ostinato rhythm" was just as exciting as the similarly constructed Ravel work
Dame Gillian's performance was greeted by very enthusiastic applause She treated the audience to "a little chocolate piece" encore, Elves by Joseph Bonnet. No fault could be found with Miss Weir's performance. Her choice and deft changes of registration, together with her virtuosic finger work and footwork, ensured a memorable performance. If I may be allowed one small criticism, her choice of stunning red dress was fitting for the occasion, but the glitter of the sequins on her back in the spotlight, did appear like "sparklers" at times and was a little off-putting. However, it did not completely spoil the recital for this reviewer.
One criticism for the Usher Hall staff: why was the specification for the organ not included in the programme? There were many organists in the audience; all are used to finding the instrument specification included in any programme. This was a serious omission, especially for such an important instrument on such an important occasion.
© Charlie Napier. 7 June 2003
charlie napier, edinburgh review - EdinburghGuide.com, 7/6/2003