Johannes BRAHMS (1833-1897)
Prelude and Fugue in G minor [7:48]
Chorale Prelude & Fugue on “O Traurigkeit” [7:59]
Symphony no. 4 in E minor, movement 4 (arr. Pipe) [11:11]
Franz LISZT (1811-1886)
Funérailles (arr. Kynaston) [12:37]
Consolation in D flat [4:11]
Fantasie und Fuge über das Thema BACH (arr. Guillou) [15:59]
Il penseroso (arr. Pipe)[4:27]
Ave Maria von Arcadelt [6:58]
David Pipe (organ)
rec. 2-4 March 2012 York Minster, UK
SFZ MUSIC SFZM0512 [71:10]
Brahms and Liszt are crowd-pleasers in any concert
programme, Romantic giants of orchestral forces. Organists are always
rather pleased to play pieces by composers that the general public will
have heard of; Bach excluded. This debut solo recording from David Pipe
- no name jokes please - showcases the best of the organ repertoire
that these great men wrote, as well as several transcriptions. The original
works work fantastically well on the organ of York Minster, originally
a Walker but much altered. It has the vast tonal palette of 8’
registers to give the warm sonority that is expected of Romantic instruments.
The first Brahms piece, the G minor Prelude, is clear and rhythmical
yet exciting and unexpected; the Fugue is well controlled. The
other original Brahms work on the disc, Chorale Prelude & Fugue
on “O Traurigkeit”, begins with a beautifully played
chorale prelude, showing the clear influence of Bach as well as foreshadowing
the later chorale preludes. The solo stop used here is clear and the
sound is round and warm. The Fugue, which doesn’t use a
strict form as the pedal never plays the subject but a statement of
the chorale melody, contains just the right amount of rubato - Pipe
points out the moments of expression without overtly making the listener
aware of what he is doing. Liszt’s own transcription of a piano
piece Consolation in D flat gives the listener a chance to experience
some of the quieter sounds on the organ as well as demonstrating Pipe’s
ability to “orchestrate” the piece using registration changes.
The same can be said for Ave Maria von Arcadelt, which is a musical
reflection on the motet attributed to Jacob Arcadelt.
The central and most impressive presence is Liszt’s Fantasie
und Fuge über das Thema BACH which is a stunning piece. It
obsessively uses the BACH motif: B flat A C B in German notation. This
was originally written for organ but was transcribed for piano. In 2005
French organ virtuoso Jean Guillou created a version based on a fusion
of the organ original and the piano reworking. This resulted in something
difficult but not necessarily more enjoyable than the original organ
version. The sure-fingered Pipe really takes this music by the throat
and makes it his own. The virtuosic flourishes originally intended for
the piano, cause him no problems. The relentless theme is characterised
each time so that it couldn’t possibly sound tired or over-used.
Pipe’s own transcriptions work very well. His ability to perceive
the organ in terms of orchestral colours means that his transcriptions
are thought of in this way. The last movement of Brahms’ 4th
Symphony has drive and passion comparable to orchestral recordings.
Liszt’s Il penseroso, this time transcribed from a piano
piece, relates less well to the original due to the different forces
but still makes an interesting project. A delicate and assured performance
works to the performer’s credit.
The choice of repertoire, instrument and player combine to make this
the perfect candidate for a CD of the month. Subsequent recordings from
David Pipe should be eagerly awaited.
Hannah Parry-Ridout
