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Samuel Sebastian
WESLEY (1810–1876)
Introduction and Fugue in C sharp minor (revised version)
(1869) [7:44]
Larghetto in F sharp minor (from Three Pieces for a Chamber
Organ, II) (1842-3) [5:52]
Voluntary (Grave and Andante) (1872) [5:20]
Andante Cantabile in G major (1864) [4:20]
Andante in E flat major (from Three Pieces for a Chamber
Organ, II) (1842-3) [4:14]
Andante in F major (from Three Pieces for a Chamber
Organ, I) (1842) [7:55]
Andante in C major (1871) from The Musical Standard [4:53]
Andante in E minor (1877) [4:31]
Holsworthy Church Bells (Air with Variations) [5:26]
Choral Song (from Three Pieces for a Chamber Organ, I)
(1842) [7:14]
James McVinnie
(organ)
rec. St. Michael’s Church, Tenbury, Worcestershire, UK,
12 October 2006. DDD NAXOS 8.570410 [57.29]
Whilst this disc does not
represent the finest and most dazzling organ repertoire,
it certainly comes from a a very important chapter in the
history of English organ music. The organ music of S.S. Wesley,
son of Samuel, grandson of Charles, is the link between a
long tradition of manuals-only organ music and the beginning
of a new era characterised by obbligato pedal parts. S.S.
Wesley was a renowned organist, though it is surprising that
despite his compositional talents and his incredible ability
at improvisation, he produced only a small number of compositions.
Small, but nonetheless hugely significant, S.S. Wesley’s
organ output paved the way for a great revival of organ music
in the late nineteenth and early twentieth centuries. Indeed
he has been labelled as the greatest composer in the English
tradition between Purcell and Stanford.
Thus
Wesley’s organ works are remarkable for their historical
significance, but not exceptional as a musical entity when
placed against other compositions in this idiom. As a listening
experience, this CD is nothing more than pleasant, not because
of the actual playing which is stylish and polished, but
because of the relative blandness of the music. Most of the
pieces are marked Andante and after half a dozen or
so, one finds oneself pining for something a little more
uplifting. However, the music is creative and delightful,
and in places quite suggestive of Wesley’s own skill as an
extemporiser. Indeed the inventiveness of the fugue in the Introduction
and Fugue in C sharp minor, is quite special and is a
suitably fitting homage to Bach; Wesley was named after his
father’s musical idol.
The
instrument chosen for this recording couldn’t have been more
appropriate – an organ as English as they come dating from
Wesley’s time with lots of depth and colour. The softer solo
reed stops are utterly charming: the orchestral oboe in the Larghetto
in F sharp minor and the Andante Cantabile in G major particularly
stand out; as does the clarinet in the Andante in E minor.
For me the highlight is the Andante in F major, which
is the centre-piece of the disc. It is an extended work,
its pianistic style making it almost Mendelssohnian, that
calls for technically astute playing and rhythmic conviction – requirements
that McVinnie clearly has.
This
is a CD for the organ enthusiast keen to fill a gap in the
collection.
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