Organ recital at Merivale

Press, Volume CXI, Issue 32567, 29 March 1971, Page 16

Organ recital at Merivale

Mr Denis Smalley gave an organ recital in St Mary’s Church, Merivale, yesterday afternoon under the patronage of the Contemporary Music Society. The main work on the programme was “The Lord’s Nativity,” a suite of nine pieces by the French organist and composer, Olivier Messiaen. Each movement gives a commentary on some aspect of the doctrine of the incarnation, and while the music may be considered representational, it is essentially theological in inspiration and expression. It is highly individual, for Messiaen has searched widely for both harmonic and rhythmic idioms, and for individual use of registration; and his setting out the music for the organ is often personal and always diverting, gaining kaleidoscopic colouring. Mr Smalley played with complete technical fluency, and sought and found most interesting combinations of registers, which always blended well and assisted him in preserving clarity of playing. Contrasting colours were quickly obtained without fuss or bother, and each new sound had its own challenge to attention. He has studied

the work deeply and can give authoritative interpretation. Rather more programme annotation for each section of the work would have been helpful. It was not always easy to tell “t'other from which,” when some movements had more than one idea to be worked out. STRANGE COLOURINGS The first movement, “The Virgin and Child,” set the pattern for the strange colourings which were to follow. and effective use was made of high melodic registration given to the pedal part. Diverting bell-like effects were heard. “The Shenherds” had a lovely shepherd’s pipe effect in a dance theme, and there was a warm glow, as Of a halo abive *he manger. The next three movements, by the nature of their subjects, have somewhat obscure messages, but the angels and “The Wise Men” have a joyous dance effect and rich processional grandeur following the star of Bethlehem.

The last movement, “God Among Us,” has terrific power and drive in toccata style. A lot of the wort consists of very slowly changing harmonies, a pronounced feature of Messiaen’s writing. The programme began with a benedictus and offertoire from “The Mass of the Parishes,” by Francois Couperin. These were delightful movements, stylishly played, with the first, gentle in manner, delicately ornamented. The second began with joyful flourishes and with heavier chorus, but had a piquant middle section with two contrasted voices. SATIE COMPOSITION “Mass for the Poor” by Eric Satie had . six movements, not the traditional six sung parts of the mass, but there was a kyrie in which the University Singers, conducted by Mr John Cousins, joined the organ with good effect The other movements were for organ alone. There was little contrapuntal writing in them, and they consisted mainly of shifting block harmonies, effectively contrasted in colouring through Mr Smalley’s sensitive registration. These three works, from the seventeenth, nineteenth and twentieth centuries, showed a continuity of French style in ecclesiastical inspiration. —C.F.B.