| Review Modified 21 October 1998 |
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| Complete
version of review by Trevor Selby of An Evening
with Dame Gillian Weir" held on Saturday 4th October 1997 at Newbury Parish Church. |
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| A
FEAST of variety was enjoyed at St. Nicolas' Church last Saturday in
"An Evening with Dame Gillian Weir". Aware of the limited appeal of the straightforward organ recital, even by one of the few star names in that field, the Newbury & District Organists' Association persuaded Dame Gillian to use her excellent communicative skills as well as her renowned performing to inform, educate and entertain her audience. The evening began with a dramatic curtain-raiser - the Variations de Concert by Joseph Bonnet where many of the tonal colours of the organ were demonstrated as was Dame Gillian's technique in the prestissimo last section. There followed an entertaining and not too technical verbal account of experiences on every continent; Japanese hospitality in providing three large mirrors for her dressing room matching the three pipe organs on one revolving stage in Tokyo; delays and disasters caused by storms and lightning in America and Denmark; the delights of experiencing the Paris instruments used by many of the famous composers there, and receiving advice on how to handle Sir Malcolm Sargent in her first Proms' appearance ("just flatter him"!). An easy rapport with the audience brought more stories and humorous anecdotes in response to questions which ranged from "where do you have your shoes made?" to "How do you find time to practise?". A short break was followed by a brief recital; 18th century naïvete and charm was beautifully demonstrated in Schnitzer's Sonata in D - a bright registration supporting pealing patterns of scale and arpeggio figures. Moving from Bavaria to Holland, Sweelinck's charming theme was carried through the departments of the organ in its 5 variations before returning to its delightful simplicity. The organ at St. Nicolas is notoriously unsympathetic to the playing of J.S.Bach, and I have heard many uninspiring performances of his Toccata in F even on recordings; a touch of brightness from use of the reeds, generous (for Bach) rubato and a perfectly judged reading of its formal design made here a memorably exciting performance. Olivier Messiaen's "Alleluias sereins" fits the Newbury instrument well and Dame Gillian's long association with this composer's works ensured that serenity was achieved; in the solo passages the performer's use of articulation transformed somewhat dull organ stops into magical ones.  A glorious account of Liszt's Prelude & Fugue on B.A.C.H. was nearing its conclusion when, after undergoing the full range of dynamics and cascades of notes, the organ decided that Bach's name should have included the letter F. A cipher (a note stuck permanently on) appeared, calling on yet more of the performer's powers in covering up the fault and cutting to a powerful ending. An "early bath" (wine and soft drinks) was taken, and after the instrument had been patched up, we returned for two more dazzling items, Bonnet's Elfes, and the wonderful Toccata by Jongen. Dame Gillian admits to being a "music junkie", Sargent described her simply as "a musician" and those wise enough to attend on Saturday knew they had been in the presence of a true musician. T.R.O.S. |
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