There seems to be
a flux of organ transcriptions of Mendelssohn symphonies at
the moment. Not so long ago I reviewed Heinrich Walther’s very
successful solo recording of the Fifth
Symphony. Here, David Gibbs and Greg Morris present the
former’s duet transcription of the Fourth Symphony, together
with the Fifth Symphony of Schubert.
Apart from the obvious
difference with Walther’s approach, namely that here two people
are playing, an essential feature in transcription-conception
needs to be discussed here to be able to assess this recording.
I commented in my review of Walther’s recording that he seemed
to set out to create a piece of organ literature from Mendelssohn’s
score. This is reflected incidentally in his choice of instrument,
the 1821 Bucholz organ in Barth. Gibbs seems very much more
to be in the business of orchestra-imitation, not quite Peter
Conte style, but with plenty of shaded dynamics, piston-pushing
and the like. The fact that two people are on the bench reflects
this approach and the choice of instrument likewise. The 1960s
Walker at Blackburn again demonstrates that curious mix of pseudo-French
reeds, highly colourful but idiosyncratic solo colours and flutes,
and neo-baroquery. In my review of Walther’s CD I pinned my
colours firmly to the mast of his approach and I find his results
more convincing in general. The organ is in another league compared
to the Blackburn instrument for a start.
But that doesn’t
mean that this isn’t recommendable. Despite the ‘too’ clever
approach, the duettists’ use of the instrument is, for the most
part, cunning. The limited wind and brass in Schubert’s work
is reflected in the limited use of the reeds. Some swell reeds
appear to colour occasional crescendi, and quite effectively.
The reeds are let loose somewhat in the Mendelssohn where they
prove to be a mixed blessing. The use of the ‘big’ trumpet in
the first and last movements isn’t subtle, while the solo reed
used in the second movement is honkingly out of tune. In general
though, a huge amount of registrational planning pays off, and
you have to admire the sheer attention to detail which characterises
these transcriptions and the way in which the music has been
translated to the organ. The playing is pretty virtuosic, incidentally,
even if, occasionally, I feel the result ends up being a bit
‘square’. I rather suspect this is an unavoidable consequence
of the organ duet genre in general.
I wonder if David
Gibbs - former assistant organist of Carlisle Cathedral - might
be tempted to ‘translate’ another early romantic symphony to
perform with Greg Morris - associate organist of the Temple
Church in London - and take as his starting point a German,
or even Dutch organ from the first half of the 19th
century. The results could be fascinating I think! The present
CD is, nonetheless, very enjoyable.
Chris Bragg
David Gibbs and Greg
Morris (organ duet)
