Simon Bell has been a regular and popular contributor to these concerts over the last few years. He never fails to entertain, presenting  a selection of music well-suited to the All Saints’ Willis, in an accessible but no-nonsense manner. His careful introductions give interesting background and points to listen for without being overlong or too technical. As on previous occasions he presented a well balanced programme of fine performances of the familiar and the less so.

Opening in grand fashion with the ecclesiastical pomp that is Widor’s Marche Pontificale , we were immediately seized by the power of this instrument and also this performer’s command of its resources as he shifted easily between the grand and the subtler passages. Simon’s Bach playing has been a highlight of previous recitals and on this occasion he gave an impressive performance of the substantial and less familiar Prelude & Fugue in E minor (“Wedge”). He has a wonderful ability to maintain a lightness of touch with this music that can otherwise easily become stodgy and austere.

A lovely contrast followed in the form of the little known Scherzo by Rousseau, a delightfully frothy romantic interlude, with beautiful registrations selected throughout. A commanding performance of Franck’s well-known Choral No 3 in A minor ended the first half. I personally felt his technically correct abrupt end to phrases could have benefitted from some artistic licence in this acoustic. However, the performance was exciting and emotional, with the excessive contrasts this piece affords, and the chance to highlight this organ’s beautifully haunting oboe stop.

The second half was made up of mostly very familiar items, each well played and as before demonstrating an affinity with the resources and makeup of this particular instrument. An arrangement of Elgar’s Pomp & Circumstance March No 4 was followed by Alfred Hollins’ A Trumpet Minuet. Vierne’s evocative Clair de Lune allowed Simon to conjure with some mellifluous tones , including the Claribel Flute. Boellmann’s popular Suite Gothique brought the programme to a close with its contrasting movements including the delicate Priere a Notre Dame and the frantic and theatrical closing Toccata.

As an encore we were treated to the playful Mozart Changes by Zsolt Gardonyi. Simon gave a superb performance of this entertaining piece that moves from the classical style into a delightful laid back jazz romp before returning to its source.

Another evening of quality performances. Simon will open the 2017 series.

Stephen Page