David Patrick presents here a pleasant
and often exciting collection of French bonbons, on the organ
of Gloucester Cathedral. To my mind the Gloucester organ
has become more raucous and a touch less beautiful since
its rebuild by Nicholsons in 1999. That said, some softer
colours, especially the strings and certain flutes, remain
enthralling. Still, it’s a lazy choice for such a disc, pseudo-French
it might be, but, despite its iconic status, and occasional
aesthetic conviction, especially in the music Duruflé, its
reeds tire the ear much more quickly than the real-deal Cavaillé-Coll.
The organ suits the playing of David Patrick
well. His approach is characterised by a truly phenomenal
technique, and ear for colour, both of which are highly impressive.
His quicksilver account of the Duruflé Scherzo in particular
is astounding, and his generally bristling approach also
gives Grison’s daft Toccata the kick it needs to make it
reasonably exciting. Elsewhere his haste serves the music
less well. The famous Widor for instance is too fast for
the articulation marks, which the composer indicates, especially
in the left hand at the outset. Widor’s own tempo marking
of crotchet = 100 is really spot on as far as I am concerned.
I find also the Impromptu of Vierne is, while dazzingly quick,
in danger of being reduced to an etude. These tempi are possible
on an electric action but impossible, and unmusical on the
great 19th century French instruments, with their
Barker Lever mechanisms. Patrick also has a good sense of
atmosphere when needed though, particularly evident in the
2 Chorals of Jehan Alain. David Patrick incidentally is a
freelance recitalist, who began making noteworthy recordings
in the 1970s – his Buckfast Abbey LP of Duruflé’s Suite on
Cathedral Recordings (CRMS 867) remains impressive. He
studied, among others, with Nicholas Danby.
Especially attractive about this release
is the inclusion of some unknown repertoire. I especially
liked the little Scherzo by Samuel Rousseau, one time colleague
of César Franck at St Clothilde. The Toccata by Joseph Bonnet
on the other hand has to be one of the least interesting
examples of the genre, little more than a concert-study.
The organ is captured well by Paul Crichton,
and features an informative booklet. This is an attractive
recording, well played, exciting and atmospheric on the one
hand, but perhaps lacking a little in space and grandeur
on the other, especially in Widor-era repertoire, the result
of the instrument, and the way in which it is handled. But
this is not hard to recommend for lovers of the repertoire,
and I’m genuinely curious to hear David Patrick make a recording
in France!
Chris
Bragg