If you are expecting mere curiosity value here you are wrong.
This is a disc crammed full of unexpected musical delights
which opens a window on a combination of instruments unfortunately
rarely heard in the concert hall. Despite the efforts of
enthusiasts and the fascinating contents of the Museum of
Victorian Reed Organs and Harmoniums in Saltaire (near Leeds
and Bradford) the harmonium occupies at best a minor position
in the hearts of many musicians. Whilst this is partly understandable
when you hear some elderly and poorly maintained chapel instruments,
the glory of an instrument like the 1880 Victor Mustel harmonium
heard here is undeniable. When heard in combination with
a Steinway piano in any of the Saint-Saëns duos here
you will be amazed at the richness and variety of texture
of which they are capable.
The Saint-Saëns Duos and the Guilmant Pastorale were indeed originally written for this combination, and the Franck and Guilmant Priére were arranged for it by their composers. They all date from the height of the instrument’s popularity and of the career of Mustel, the greatest harmonium maker. The Duos are especially worth hearing, once again demonstrating the composer’s
imagination and craftsmanship even in such very early works.
The first, for instance, starts and ends with the harmonium
sustaining chords while the piano dashes off with fiery scale
passages, and has a fugal section in the middle in which the
instruments are more evenly treated. The overall effect is
invigorating and exciting. The second in contrast has a gentle
melody on the harmonium accompanied by the piano. Each piece
has its own varied character, and as a group they add up to
a diverting Suite. Perhaps they are not the composer at his
greatest but they are still well worth hearing. The Franck
is better known today in either its original version for organ
or for solo piano, but it too works wonderfully well as a duet.
The more intimate sound of the harmonium seems more appropriate
to its character than does the organ.
Several of the works here are arranged by Jonathan Scott, who has managed to retain their essential character and even to shed new light on them. The Danse Macabre in particular works surprisingly well. sounding just as it might as if the composer of The Carnival of the Animals had transcribed it for these instruments himself. Uniquely in my experience they make the Bach-Gounod Ave Maria into a thing of rare beauty rather than a joke in poor taste.
All of this is aided by the clear and forward recording and the constantly lively playing of the two Scott brothers, who I understand perform also as piano duettists and as soloists. I thoroughly enjoyed this disc which would make an admirable present for a lover of organ or piano music who thinks that they have heard it all, or even better to keep for your own enjoyment.
John Sheppard
Jonathan
Scott (harmonium); Tom Scott (piano)
