Thierry Eschaich, Willis Organ, Royal Albert Hall 23 August 2015

Presenting a programme of solo organ music based upon chorales, French virtuoso Thierry Escaich made his second appearance at the Proms (the first being four years ago). There is no doubt that he is a fine organist, displaying remarkable technique as a player, composer and improviser, as well as having an impressive command of the RAH’s substantial organ.

As well as the music of Lutheran hymnody items in the programme were linked by the development of organ music through Bach, Brahms and Mendelssohn and to the present day with the improvisational and compositional work of the performer.

This was an extremely interesting concert. I appreciated the contrasts between the linked material and there were some moments of sheer delight. The opening Passacaglia and Fugue in C minor (Bach) set the scene well for what was to follow. This was a highly romantic interpretation with varied registration throughout, including some lighter moments. Brahms’ Prelude & Fugue in G minor  followed and then came the first of the evening’s pairings  of a chorale prelude, Herzliebster Jesu and a re-interpretation (Chorale-Etude) by Escaich. This work short work was a furious, fragmented take on the theme, far removed from Brahms’ prelude.

Throughout the prom four of these Chorale-Etudes were heard, in widely differing styles. The second, Nun freut euch, ihr Christen, was less fragmentary but still with jazz influences in evidence. Herzlich tut mich verlangen used the plaintive chorale melody in its entirety as it collided with a seemingly atonal onslaught. As a commentary on Christ’s crucifixion it certainly served to de-sanitise the scene and created an atmosphere of tension and agony. I didn’t particularly like it – but perhaps that was the point.

As well as Bach and Brahms we heard Mendelssohn’s Organ Sonata in A major, No 3, unusual in that it consists of just two movements.

Whilst an interesting programme, with clear links I have to say that as the evening progressed I became a  little tired of hearing so much loud and furious organ music. I longed for the quieter moments when solo stops and subtle combinations came to the fore. I also prefer a plainer approach to registration when it comes to much of Bach’s output. Howeve, the highlights of this concert for me came at the end of each half when we were treated to two marvellous improvisations on themes by Bach.

The first, a Prelude & Fugue, was a wonderful demonstration of Thierry Escaich’s improvisational skills. Freed from the musical score (beyond the fragment that had been presented to him) an imaginative musical structure was grown as aspects of the theme were given various treatments of registration, texture, rhythm and tonality. In the hands (and feet) of the skilled improviser the organ becomes a palette from which to select and mix these various elements – and here we had a remarkable demonstration of how successful and thrilling this can be.

The second improvisation (Suite on themes by J.S.Bach) developed this art even further as extreme contrasts and endless invention transported the audience to a very special place. In both improvisations there were passages where it was easy to imagine a silent movie dictating the structure of the music as well as moments of ethereal beauty. In the final improvisation much use was made of shimmering upper flutes and strings as well as the celeste, perhaps harking back to musical settings by Holst and built to a stunning Toccata climax.

I could have listened to a whole evening of improvisation by Thierry Escaich at this console.

Stephen Page