The
late Alan Ridout was a very prolific composer whose large and
varied output has still to be properly re-assessed, let alone
assessed. He composed in most genres, including operas and children
operas (some may remember a long-deleted recording of The
White Doe written for Ripon Cathedral once available
on Alpha ACA 562), eight symphonies (none of which has been
recorded so far), twenty five concertos, choral music and a
sizeable body of organ music (which fared somewhat better, i.e.
as far as recordings are concerned), ranging from short occasional
works such as Easter Fanfare (heard here) to large-scale
pieces such as The Fourteen Stations of the Cross
(also heard here) and The Seven Last Words (available
on Nimbus NI 5580/1), and including a number of “secular” organ
works such as Suite Bretonne, Scots Suite
and The Night Watch (all three recorded by Robert
Crowley and available on Lammas LAMM 103 D that I reviewed here
some time ago).
The
present release again juxtaposes “religious” and “secular” organ
works, of which The Fourteen Stations of the Cross
composed in 1978 for Allan Wicks, who recorded it many years
ago (Wealden WS 209 – nla), is the most substantial. This imposing
masterpiece is laid-out as a theme and variations, or – rather
– thirteen variations in search of a theme, since the theme
is heard complete in the fourteenth Station only. The music
is brooding in mood, slow-moving but nevertheless full of telling
contrasts. The whole piece, however, is quite accessible (even
if it needs – and repays – repeated hearings) and communicates
with some considerable expressive strength, actually a typical
hallmark of Ridout’s music. This impressive and powerful work
compares most favourably with Ridout’s The Seven Last
Words as well as with some of Messiaen’s large-scale
organ works, although the idiom is somewhat less adventurous
but no less interesting than Messiaen’s.
The
shorter Dance Suite was also written for Allan
Wicks, and is of course completely different in mood, and exploring
other expressive characteristics of the instrument. The four
dances make for a highly contrasted piece, in turn bouncing
with energy, tenderly meditative, lively and majestic. The second
dance is quite beautiful, and a little gem indeed.
Canticle
of the Rose is another substantial
work written for the unveiling of the Laporte Window at St Albans
Cathedral. The work is in eight movements that may be played
as a cycle lasting some twenty four minutes, as separate items,
or in one of two suggested suites : (a) Earth, Fire, Air,
Water and Postlude (i.e. the suite recorded here) and (b)
Father, Son, Spirit and Postlude (hopefully to be recorded
soon). Again, the four movements make for a contrasted and varied
suite of vivid miniatures, with Fire a brilliant Scherzo
in stark contrast to the lightness of Air and the fluid,
capricious motion of Water, the whole being capped by
an imposing hymn-like Postlude ending with triumphant, assertive
fanfares.
This
fine selection of Ridout’s organ music opens with the somewhat
shorter Processions, actually yet another suite
in four movements laid-out along the same line as Dance
Suite, and includes a still shorter, occasional but
quite effective Easter Fanfare of some improvisatory
character.
As
already mentioned, the present release is an apt and timely
sequel to Crowley’s earlier recording of some of Ridout’s organ
music (in Sounds Contemporary – Lammas LAMM 103D) and
will hopefully be followed soon by some further release(s),
for there are still some sizeable organ works by Ridout that
still await their first recording in CD format, e.g. Sinfonia,
Three Resurrection Dances and the second suite
of Canticle of the Rose, to name but a few that
come to mind. Crowley obviously loves this music that he plays
with assurance and dedication, and is thus the right man to
do the job. Excellent performances and very fine recording.
Warmly recommended.
Hubert
Culot
Robert Crowley at the organ of Canterbury Cathedral
