Composer: Sir Edward Elgar (1857-1934)
Works: Complete Organ Music: Sonata No. 1 in G major, Op. 28; Vesper Voluntaries, Op. 14; Cantique in C major, Op. 3 No. 1; Loughborough Memorial Chime; Sonata No. 2 in B-flat major, Op. 87a
Performers: John Butt at the organ of King’s College Chapel, Cambridge
Recording: July 1-4, 2000
Label: Harmonia Mundi HMU 907281
Elgar’s foray into organ music, a genre often overshadowed by his orchestral and choral masterworks, reveals a composer deeply engaged with the instrument’s rich sonorities and expressive potential. This collection, representing the entirety of Elgar’s contributions to the organ repertoire, spans from the early Cantique of 1879 to the late Sonata No. 2 of 1933. The evolution of Elgar’s compositional voice is palpable across these works, reflecting both personal and historical contexts, including his formative years as an organist and the broader English musical landscape.
John Butt’s interpretation of the G major Sonata, the most substantial of the set, stands out for its deft balance of grandeur and introspection. The opening Allegro maestoso bursts forth with vibrant colors, showcasing the majestic capabilities of the King’s College Chapel organ. Butt’s command of the instrument allows him to navigate the contrasts inherent in the movement, from the dramatic proclamations to the more subdued passages, with a sense of nobility that Elgar surely intended. The Allegretto, imbued with a lyrical tenderness, showcases Butt’s sensitivity; however, a more pronounced dynamic range could have further highlighted the movement’s emotional undercurrents. The long, sweeping phrases of the Andante espressivo encapsulate Elgar’s signature melancholy, and here Butt’s nuanced phrasing resonates with a deep understanding of the music’s emotional landscape, effectively capturing a sense of reflective yearning.
The Vesper Voluntaries, composed during Elgar’s early years in London, reveal a different aspect of his artistry. These nine charming pieces, while stylistically rooted in continental traditions, reflect an experimentation that accompanies liturgical function. Butt’s interpretations here are generally tuneful, though the Poco lento, which should radiate quiet nobility, feels slightly restrained. A more assertive articulation would have served the piece well, allowing the thematic material to shine with the gravitas it deserves.
The Loughborough Memorial Chime, originally conceived for carillon, translates well to organ in Butt’s capable hands, capturing both the chime-like textures and the wistful cantilena that Elgar intended. The work’s simplicity masks its emotional depth, and Butt’s performance deftly balances these elements, creating an atmosphere of reflective remembrance. The closing Sonata No. 2, arranged by Ivor Atkins, showcases Butt’s technical prowess, particularly in the Toccata, where rapid figurations echo Bach but are infused with Elgar’s distinct harmonic language. This movement’s vitality is coupled with an affecting lyricism in the Fugue/Andante, where Butt builds towards an emotional climax with skillful pacing, culminating in a resounding coda that encapsulates the work’s grandeur.
The engineering of this recording supports Butt’s interpretations admirably, with the acoustics of King’s College Chapel enhancing the organ’s tonal richness. Each note resonates with clarity, allowing the listener to appreciate the intricate counterpoint and the dynamic range of Butt’s playing. The overall sound quality is excellent, capturing both the instrument’s power and its more delicate articulations without sacrificing detail.
Elgar’s organ works, often considered peripheral to his more celebrated orchestral output, are given their due in this collection. Butt’s performances are engaging, marked by both technical skill and interpretative insight. While some moments invite a more vigorous approach, the overall presentation is a commendable exploration of Elgar’s musical landscape. Enthusiasts of Elgar and organ music alike will find much to admire in this collection, which reveals the composer’s profound connection to the instrument and his ability to imbue it with his characteristic nobility and depth.
