Composer: Victorian
Works: Edward Elgar – Imperial March; Felix Mendelssohn – Sonata No 6 in D; Morandi – Bell Rondo; Hubert Parry – Fantasia and Fugue in G; Alfred Hollins – A Trumpet Minuet; T J Morgan – Fantasia on Twrgwyn; Percy Whitlock – Folk Tune and Scherzo from Five Short Pieces; Edwin Lemare – Andantino in D Flat; Franz von Suppé – Overture, Poet and Peasant (transcribed Edwin Evans)
Performers: Huw Tregelles Williams, organ
Recording: Morriston Tabernacle, Treforys
Label: Sain SCD 2260 [67.29]
The collection entitled “Victorian and Edwardian Favourites,” featuring Huw Tregelles Williams on organ, presents an insightful exploration of British organ repertoire from the late 19th and early 20th centuries. The disc shines a light on a range of composers whose works, while perhaps not as frequently performed today, are rich in thematic and technical complexity, offering a fascinating glimpse into the musical zeitgeist of their respective eras.
Williams opens the album with Elgar’s “Imperial March,” arranged by Sir George Martin. This interpretation captures Elgar’s characteristic nobility and infectious confidence. The organist’s ability to navigate the broadening dynamics from a circumspect introduction to an expansive, resplendent orchestral sound is impressive. Williams deftly maintains the work’s inherent grandeur while embracing the organ’s unique tonal palette. The transition from the subdued opening to the assertive middle section at 5:46 demonstrates a keen sense of pacing, climaxing in a vigorous conclusion that speaks to both the composer’s intentions and the performer’s interpretative insight.
Mendelssohn’s “Sonata No. 6 in D” follows, a piece steeped in introspection and influenced by Bachian counterpoint. Williams imbues the work with a weighty gravity that reflects its late compositional period. The fugal passage, beginning at 8:53, is rendered with meticulous clarity, showcasing Williams’ technical prowess and attention to detail. The final movement, marked by its reflective quality, is paced with an understanding that allows its lyrical nature to emerge organically, contributing to the overall gravitas of the performance.
The inclusion of W.T. Best’s arrangement of Morandi’s “Bell Rondo” provides a delightful contrast—its lively, almost whimsical character is executed with a sense of fun that is palpable. Williams employs the organ’s swell box and fanfare-like passages to elevate the piece, ensuring that the energetic spirit remains intact until the emphatic conclusion. This section highlights Williams’ dexterity and his ability to shift stylistic gears seamlessly.
Hubert Parry’s “Fantasia and Fugue in G” adds a layer of complexity to the programme, with its convoluted history reflecting the composer’s artistic evolution. Williams handles this technically demanding work with confidence, particularly in the fugue, where the intricate interplay of voices is articulated with precision. The well-documented revival of interest in Parry’s music is further justified through this performance, which underscores his innovative harmonic language and structural ingenuity.
The subsequent works by Hollins, Morgan, and Whitlock continue to highlight Williams’ versatility. Hollins’ “Trumpet Minuet” is particularly engaging, full of swagger reminiscent of early Baroque influences, while Morgan’s “Fantasia on Twrgwyn” showcases a dramatic flair, steeped in the Welsh choral tradition. The contrasting “Folk Tune” from Whitlock provides a moment of serene reflection, demonstrating Williams’ sensitivity to mood and texture.
Lemare’s “Andantino in D Flat,” a staple of the organ repertoire, is performed with both elegance and technical finesse, particularly notable is the dual-manual passagework that Williams navigates with ease, illustrating the organ’s capabilities. The final piece, Suppé’s “Overture, Poet and Peasant,” arranged by Edwin Evans, stands as a testament to the Victorian taste for orchestral transcription, and Williams’ interpretation captures the exuberance of the original orchestral score in a way that feels both vibrant and respectful.
The recording quality is commendable, with the acoustics of Morriston Tabernacle enhancing the rich tonal palette of the organ without overwhelming the clarity of the individual lines. Although the absence of track timings and separate movement tracking may detract from the listener’s navigation, the overall sound engineering allows for a rewarding listening experience.
This collection offers a well-curated program that not only showcases the virtuosity of Huw Tregelles Williams but also serves as a reminder of the rich tapestry of British organ music from the Victorian and Edwardian eras. The performances are characterized by a blend of technical mastery and interpretative insight, making a compelling case for the continued relevance of these works in the concert repertoire. The album stands as a valuable contribution to the organ discography and is likely to resonate with both seasoned listeners and newcomers alike.
