Daniel Moult, 18th July 2017
The second recital in this popular series was a feast of enthusiasm and brilliance. From the outset Daniel radiated a passion for all of the music he presented. Spanning classical, romantic and more modern forms and a range of mood and colour this was an incredibly well constructed programme presented with panache.
Daniel’s exciting performance of Widor’s Allegro from Symphonie VI got the proceedings off to a cracking start and this was immediately followed by a complete contrast in the form of Saint-Saens’ Elevation, beautifully showcasing some of the organ’s softer registers. Throughout the evening often humorous and informative introductions were given which gave added insight to the pieces which followed. I particularly appreciated the background to Mozart’s Fantasia in F minor/major, a piece I have heard on numerous occasions but which suddenly came to life in a new way. The Trio in G by Bach and selections from Handel’s Water Music brought the first half to a solid conclusion, all demonstrating this organist’s ability to use the resources of this organ to the full in a convincing and apparently effortless way.
Vierne’s well-loved Finale from Symphonie No 1 opened the second half in an energetic and convincing performance, the repeated manual motifs requiring a lot of effort on this particular instrument but presented with ease. I was particularly pleased that the final four items were all unfamiliar to me and all post 1900. I really would like to see more of the performers in this series bringing us lesser known repertoire and new sound worlds. Francaix’ Suite Carmelite used some inventive registration to bring the representations of the six characters to life and included some delightful rubato playing. Van Oortmerssen’s setting of Psalm 72 was a lovely inclusion, in a haunting and expansive performance given by this one-time student of the composer. Wammes’ Toccata Chromatica (echoes of Sweelinck) was brilliantly executed with a lightness and rhythm and with rapid manual and pedal movement and use of many pitches. The final piece was Harold Britton’s Variations on “I got rhythm” – a tour de force which allowed Daniel to demonstrate once again his affinity with this instrument, and his ability to be at one with a range of styles. His outstanding pedal technique, sometimes playing four parts on the pedals, was shown here but also his musicality and sensitivity in more sublime passages. This was an outstanding end to a highly entertaining evening.
Despite having worked so hard and clearly having worked up a sweat on this sultry evening the audience was treated to an encore which wisely slowed the tempo and softened the mood. A lovely contrast to what had just gone before. I hope we will see a return from this fine organist before too long.
Stephen Page