It is not easy to give an exact definition of the term 'voluntary'.
Its origin is not known, and its character can vary. In the early
17th century it was used, apparently at random, for any freely
composed or improvised piece of organ music. Such a piece could
also be called 'verse' or 'fancy' - derived from 'fantasia'.
But it seems 'voluntary' generally referred to a piece in two
or more sections.
Originally voluntaries were written for use in the liturgy, but
in the 18th century some voluntaries could also be played on
the harpsichord. The two sets of Voluntaries by William Russell
were written for the organ, but they were published as 'Voluntaries
for the Organ or Pianoforte'. The pianoforte was probably mainly
added for commercial reasons because Russell added such extensive
registration markings that it is difficult to imagine how these
voluntaries would sound on an early 19th-century piano. Therefore
it is understandable that John Kitchen has decided to play all
of them on the organ. It would have been nice, though, if at
least some Voluntaries had been recorded on the fortepiano as
well, just to give some idea about how they would fare on such
an instrument. There was enough space left on the third disc,
and John Kitchen is also a fine player on other keyboard instruments
than the organ.
William Russell belongs to a generation of composers who get
little attention these days. German and Austrian composers of
around 1800 are regularly played, even when they don't bear the
names of Mozart, Haydn or Beethoven. Their English contemporaries
appear infrequently on the concert programmes of chamber music
ensembles or even keyboard players. The members of the Wesley
family are among the best-known. But Russell was held in high
esteem by his contemporaries. According to his obituary in The
Monthly Magazine he had few equals as a performer of the organ
and the pianoforte.
Russell was almost predestined to become an organist, since he
came from a family of organists and organ builders. His father
was an organ builder too and William Russell himself was also
interested in the technique of the organ. That resulted in him
being in much demand as an organ inspector. He suggested improvements
to the organ which were carried out by his father. Apart from
acting as an organist at several churches he was pianist and
composer at Sadler's Wells Theatre. He wrote several pantomimes,
but also liturgical music - anthems and services - as well as
some oratorios which were highly appreciated.
The two sets of Voluntaries which were published in 1804 and
1812 are historically interesting in several respects. As already
said Russell has added precise instructions for the registration,
but he also notated ornamentations, phrasing and tempi. These
instructions give a clear idea of the musical taste of his time,
but also about the kind of organ on which he preferred his compositions
to be played. John Kitchen has chosen the organ of St James's
Church which dates from 1829, but very much reflects the ideals
of William Russell. Two aspects are especially useful: the compass
of the manual on the great and choir allows to play Russell's
Voluntaries exactly as they are written down. Also important
is the presence of a pedal-board with a compass of two octaves.
This is essential for performance of Russell's music, as he seems
to have been the first English organ composer who wrote independent
pedal parts.
But these Voluntaries are also of musical interest in that they
link the past and the future. On the one hand they are rooted
in the tradition of English voluntaries, as they were written
by the likes of Stanley, Walond or Nares. There are several movements
where one hand plays a solo part on one particular stop whereas
the other hand provides an accompaniment, very much like, for
instance, the 18th-century 'trumpet voluntary'. The influence
of Handel is particularly present in some opening movements.
At the same time Russell makes use of the harmonic language of
the early romantic style, and he shows his admiration for Mozart
and Haydn. Notable is also the fact that most Voluntaries consist
of at least one fugue, sometimes even a triple fugue.
It is also the organ which builds a link between past and future.
On the one hand the organ's disposition allows it to be used
as a kind of orchestra, pointing into the direction of the 19th-century
symphonic organ. But the pitch (a'=432Hz) and in particular the
temperament are rather old-fashioned. The latter is described
in the booklet as "approximately 1/5-comma meantone" and
this results in some pretty sharp dissonances in many of the
Voluntaries which one is used to hear in music of the 17th century
rather than in early romantic repertoire. It is just one of the
many fascinating aspects of this production.
A set of three discs with organ voluntaries of a pretty little-known
English composer of around 1800 may seem a little too much of
a good thing. Of course, there is no need to listen to these
discs at a stretch. I have listened to one disc per session,
and that was no tall order. I admit, I am an organ nut, so others
may have a little more difficulty in listening to this kind of
repertoire for an hour or more. But it is made a lot easier because
of the variety and the consistent quality of Russell's music
which I find quite impressive. I had never heard Russell's music,
and that is a serious omission. It is most interesting to hear
the various influences by older and contemporary masters in these
Voluntaries. But if you are not an organ aficionado you could
just consume a couple of voluntaries now and then. It wouldn't
surprise me at all if you keep listening.
The use of this splendid organ greatly contributes to the enjoyment.
The many possibilities of registration offered to the interpreter
create enough variety to keep the listener awake. The recording
engineer has done a brilliant job as the organ sounds in its
full glory here.
John Kitchen gives just splendid performances. For the most part
he follows Russell's registration instructions very closely but
sometimes he takes his own decisions. Some of them may be debatable,
but considering the general level of playing this hardly matters.
Kitchen plays with bravado and with great sensitivity. Both the
grandeur of many opening movements as the more solemn pieces
fare extremely well under his hands and feet. He also has written
very detailed and informative programme notes, not only about
Russell and his music, but also about every single piece. The
booklet contains an extensive description of the organ and its
history, the disposition of the organ and the registration of
every Voluntary. There are also some beautiful pictures of the
organ.
In short, this is an exemplary production with music which deserves
to be explored, splendid performances, a beautiful organ and
a booklet of the highest standard.
Johan van Veen
Track listing
CD 1
Twelve Voluntaries, 1804
Voluntary VII in E flat [13:46]
Voluntary I in C [9:15]
Voluntary II in F [6:13]
Voluntary IX in a minor [5:08]
Voluntary IV in D [8:17]
Voluntary X in g minor [4:33]
Voluntary III in G [4:55]
Voluntary XI in e minor [7:41]
Voluntary V in d minor [5:33]
CD 2
Voluntary VI in F [5:06]
Voluntary VIII in B flat [10:12]
Voluntary XII in C/c minor [13:42]
Twelve Voluntaries, 1812
Voluntary IX in B flat [7:09]
Voluntary II in C [9:06]
Voluntary I in e minor [8:14]
Voluntary X in G [5:54]
Voluntary III in D [8:33]
CD 3
Voluntary IV in a minor [5:50]
Voluntary V in F [8:57]
Voluntary XI in D/d minor [7:03]
Voluntary VII in A [6:27]
Voluntary VIII in b minor [4:38]
Voluntary VI in E flat [8:34]
Voluntary XII in C [6:17]
Voluntary in G (unpublished) [5:22]
John Kitchen (organ, J.C. Bishop,
1829) 
