4 August 2014
Tom Bell & Richard Brasier
A varied and original programme of music was enjoyed by a responsive audience for this, the 5th concert of the series. Both performers are excellent ambassadors for the organ. They combine skilled playing and good understanding and command of the capabilities of the Willis together with down-to-earth, interesting explanations of the music.
The programme was made up of four duets, a piece that required one of the pair to act as assistant and solos from both performers.
The first duet was a set of 19th Century Variations by Adolf Hesse. It was presented with some contrasting registration and set the evening off to a very good start. The second duet was a complete contrast – Martyrs by Kenneth Leighton, written in 1976. This was an exciting demonstration of cross rhythm and a good showcase for the depth of texture and contrasting lines possible in an organ duet – and of virtuosic playing from both performers. A section from one of Samuel Wesley’s organ duets saw a return to a more conventional sound world (although Wesley is not without his own quirks). The final duet was John Rutter’s Variations on an Easter Theme which treats “O Filii et Filiae” in a number of ways including some jazz-inspired moments.
Solo items were two contrasting pieces from Richard originally written for mechanical clock. The first, a beautifully mellow registered but at times very involved Adagio by Beethoven. The second was the well-known grand Fantasia by Mozart, in an arrangement by W.T.Best. I wonder if the clock played this piece on the hour, every hour! Both pieces were very well executed.
Tom’s pieces were both contemporary offerings. Tom’s passion for contemporary organ music is infectious and it is so good to be able to hear this music live as part of the Hastings organ series. I personally would love to hear much more included in these programmes. Martin Bussey’s Three Border Studies paint a musical picture of 3 ancient abbeys – Jedburgh, Dryburgh & Melrose, with their own character represented in the structure, texture, rhythm and melody of each piece. The most contemporary piece was a world premiere performance, given in the presence of the composer. Inspired by Ligeti’s organ work it is described as “a very gradual transformation of timbre”. It is entitled (organ piece) by John Aulich. It involves very light touch playing as well as skilful manipulation of the drawstops and placing of chopsticks (!) on the keys to allow sounds to be sustained for long periods but allowing the performer to carry out further manipulation. The piece ends with the blower being switched off allowing the sound to die away as the various harmonics become more audible.
This was a well crafted programme, designed to entertain and inform. Both performers had a natural rapport with the audience and demonstrated an excellent understanding and control of the Willis. This was their first joint performance and it is to be hoped that they will develop their repertoire of duets. I also hope that we will see more of them together in Hastings in the future. SP