I
first became aware of Healey Willan’s music through a fine
series of recordings of his church music for choir that
Virgin Classics issued a good few years ago. However, this
CD offers an opportunity to become acquainted with what
appears to be a representative cross-section of his output
for the organ. I say “representative” since it would seem
from Patrick Wedd’s own excellent liner-note that he has
chosen here a few of Willan’s most important and substantial
concert works and a selection from the many shorter pieces
that he wrote primarily for liturgical use.
The
choice of the instrument on which this recital is played
is interesting and apt. Almost as soon as he arrived in
Canada in 1913 Willan was appointed organist at the church
of St. Paul, Toronto, a post he occupied until 1921. In
the year following Willan’s arrival at St. Paul’s the Canadian
firm of organ builders, Casavant Frères, installed a substantial
new organ there. Indeed, Patrick Wedd describes that organ
as “formidable.” The instrument at the Église Saint-Jean-Baptiste,
Montréal was installed just one year later, in 1915, and
it seems to be of similar magnitude and tonal resource
to the St. Paul’s organ. So, here we have an opportunity
to hear Willan’s music on an organ very similar to the
one that inspired at least some of these compositions.
The
biggest and best work on this disc was undoubtedly inspired
by the St. Paul’s organ for the Introduction, Passacaglia
and Fugue was composed in 1916, during Willan’s period
as organist there. It’s a most impressive work. The Introduction
is commanding. The Passacaglia begins in sepulchral quietness
on the pedals and then in the space of some seven minutes
Willan takes us through no less than 18 variations. For
the first five minutes or so the passacaglia is pretty
subdued but Willan builds his edifice patiently and the
music gradually grows in power and majesty, showing off
the full resources of the organ. The last couple of minutes
of this section are given over to a quiet, atmospheric
chorale before we reach the concluding double fugue. This,
too, is a movement that builds patiently. It sounded to
me to be the work of someone who knew his Bach. The work
end most imposingly. It’s a grand, ambitious piece and
it’s played splendidly by Patrick Wedd.
Many
years later, in 1959, Willan wrote what might be called
the Little Brother of the Introduction, Passacaglia
and Fugue. His Passacaglia and Fugue No. 2 in E
minor was dedicated to Sir William McKie, the organist
of Westminster Abbey. The two had met and become close
friends in 1951 and it was at McKie’s instigation that
Willan was invited to compose a motet for the Coronation
of Queen Elizabeth II in 1952 - I hadn’t previously known
this. The structure is very similar to the 1916 work though,
at under one minute, the introduction is much shorter this
time - it’s not a separate movement on this occasion. Again
the Passacaglia begins on the pedals and this time there
are twelve variations. As before, Willan is skilful in
his variations and employs impressive cumulative patience
in constructing the movement. As before the fugue is preceded
by a subdued chorale. This is harmonically quite remote
and the listener is unsure - or, at least, initially this
listener was unsure - where the music is leading. The fugue
is again a massive double fugue. I thought it was rather
dense in places and I don’t think that’s the fault of the
performer. This is a fine work but I’m not sure it’s quite
as impressive an achievement as the Introduction, Passacaglia
and Fugue
The Prelude
and Fugue in C minor is the odd piece out in this
programme in that it’s the only one written before Willan’s
emigration to Canada. It dates from 1908. It contains
a powerful prelude and a substantial double fugue. From
about 5:20 onwards in this performance of the fugue the
pedal part is thunderous as Willan recalls the music
of the prelude. The ending is majestic and this whole
work constitutes an arresting start to the recital.
All
the remaining pieces are shorter and were, in the main,
designed for liturgical use. They are musically sensitive
and would undoubtedly enhance any liturgy at which they
were played. The Five Preludes on Plainchant Melodies constitute
a collection but each can stand alone. The central three
are all essentially reflective but the first of the set
is jubilant while the concluding piece, Urbs Hierusalem
beata is a majestic processional. Listening to it one
can readily imagine a long High Church procession, headed
by crucifer and, in a cloud of incense, a thurifer.
Throughout
this recital Patrick Wedd is a most persuasive and skilled
advocate for Willan’s music. The engineers have captured
the sound of the organ - and the acoustic of the church
that houses it - most impressively. Though the selection
has been artfully chosen with sufficient variety that one
can listen to the whole disc straight through I’m not sure
I’d advocate this. The disc is perhaps one for dipping
into.
Mr
Wedd writes his notes as persuasively as he plays Willan’s
music and the booklet also contains a full specification
of the organ.
I’m
delighted to have encountered this disc as will anyone
interested both in organ music and in the music of the
Anglican Church. I just hope Naxos will now give us some
of Willan’s orchestral music.
John
Quinn
see
also review
by Chris Bragg
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Patrick Wedd, organ 
