ORGAN RECITALS - a contemporary view ... ... ... Arthur Butterworth
At the beginning of last century there were, as nowadays,
musical performances of many kinds: notably choral and vocal concerts.
The larger centres also had orchestral concerts. Even smaller towns
would occasionally welcome a professional orchestra, though rarely as
frequently as nowadays when we enjoy the existence of permanently established
orchestras up and down the country. Of course there were many local
amateur orchestral societies, but from what we know, their
expertise was nothing like what is now expected of the many excellent
and highly competent amateur bodies who can perform virtually anything
in the professional repertoire. Popular musical taste was also well
catered for by brass bands, of which there were several thousand; far
more than now exist. Brass bands brought watered-down versions of great
music - operatic, vocal and symphonic - to the masses who would have
but rare opportunity to listen to a professional orchestra, or see a
full-blown opera in the theatre.
However, there was one other universally popular musical
phenomenon: the organ recital. Celebrated organists, and even the not-so-celebrated
local organists would give recitals (they were invariably termed ‘recitals’
rather than ‘concerts’) at which could be heard all kinds of musical
transcriptions along with original organ music. It perhaps nowadays
seems improbable to imagine that on Saturday evenings a hundred years
ago, it was not at all unusual for there to be an organ recital in the
local town hall, or even a large church; though recitals in churches
in those more religious times might have demanded a more devotional
reponse from the listener: certainly applause, as is now openly practised
at church performances, would not have been tolerated in such hallowed
precincts. Many public halls, especially the town hall, would boast
a fine organ. Perhaps its purpose was originally to accompany large-scale
choral performance when good and reliable orchestral accompaniment was
not so easy to come by. But the organ recital existed also on its own
account. Such performances in secular halls would, like the brass band
concert, include all sorts of transcriptions from the classics. Also
like the brass band concert of those times, the transcriptions might
not invariably have been in good taste. The organ, after all, has a
style of its own and is not really comparable with the orchestra. What
sounds effective in orchestral terms does not necessarily work well
on the organ. Berlioz remarked on this, when he said that the orchestra
and organ do not really go welI together, for "one is Emperor
and the other is Pope" thereby implying that the secullar realms of
the orchestra and opera house, are quite different from that of the
organ, whose metier is the church or cathedral. Nevertheless, there
are many occasions when the two disparate kinds of music can combine
most majestically: one thinks of Berlioz’s own "Requiem" and
similar large—scale musical utterances.
The organ recital ideally seeks to perform its own
- some would say rarefied - kind of music. This usually takes place
in a church or cathedral, but by no means exclusively so. However, it
is perhaps a truism that organ music tends to be a specialist interest
these days. Gone are the days when a popular recitalist (such as the
northerner David Clegg) would play transcriptions of "The Ride
of the Valkyries" complete with flashing lightning effects as the
swell-box was opened and closed, or other sensuous operatic excerpts:
the overture to Hérold’s "Zampa", or popular things
such as "In a Monastery Garden" when the tremulant would be
vastly over-used. In the 1920’s and
1930’s the popular organ came into its own in
the cinema, and today is still in evidence in the small electronic
instruments that enthusiasts have in the home, But this is not
real organ music in the sense that the serious musician
regards it.
Serious organ music - comparable with the best
in chamber music or symphonic music - is indeed something of a
specialist taste, but there is evidence that ‘ordinary’ music
devotees (i.e. those not especially conversant with organ recital
jargon) do attend recitals, especially by distinguished concert
performers. The repertoire is primarily based on one composer
above all others: Johann Sebastian Bach. It is sometimes said
that no organ recital is complete without something by Bach. But
this is not by any means the case. Throughout musical history
there have been composers who have written well for the organ.
Some of them, it is true, have indeed specialise in music for
the instrument, much in the same way that Chopin did for the piano.
The early German baroque composers prepared the way for Bach:
such names as .Buxtehude, Froberger, Pachelbel, along with other
baroque composers from Italy, Spain, the Netherlands, and not
least France. French organ music seems to have reached a high
point of its own. in the nineteenth century with César
Franck, Vierne, Wider, Guilmant, and many others. Such flamboyant
style carried over into the twentieth century with Messiaen, Dupré,
Alain, and that fine recitalist who died young, Jeanne Demessieux.
Most concert-goers have at least heard of the Poulenc Organ Concerto.
The German tradition of Bach was followed notably by Liszt, Rheinberger
and Max Reger; while in Scandinavia probably the greatest organ
work since Buxtehude’s time is Carl Nielsen’s "Commotio",
that vast symphonic piece of imaginative musical structure.
British organ music - one could almost say narrowly
"English" - organ music has largely been influenced by the
cathedral tradition: Samuel Sebastian Wesley, Parry, Stanford, Walter
Alcock, Percy Whitlock, Walter Parratt, Hollins and Wolstenholme (the
last two being distinguished blind organists) along with other composers
more often than not themselves cathedral organists: among organ buffs
their names are legion. Sir Edward Bairstow, long the organist of York
Minster wrote one of the most effective of concert pieces, although
its true setting seems still to be that of a large cathedral, the Organ
Sonata in E—flat composed in i937, comparable to Elgar’ s own Organ
Sonata in G.
The peculiar thing is that, apart from Bach, hardly
any of the truly great composers contributed much at all to the organ
repertoire. Handel’s so-called ‘concertos’ are little more than incidental
pieces to be played in the interval of operatic occasions, and hardly
explore organ technique in the way that Bach does. Mozart wrote virtually
only one remarkable piece; Haydn, Beethoven, Brahms almost nothing to
speak of. The great romantic composers hardly recognise the organ at
all as a solo instrument. Despite the fact that the organ, perhaps like
the string quartet, is so often regarded as something apart from the
general mainstream of musical interest, there is some fine music waiting
to be explored by those who, while being regular patrons of the sympbony
concert or opera house, have never been to an organ recital by a celebrated
performer of international repute.