Fantasia and Fugue in G minor BWV542 - Mushel
Suite breve - Langlais
Toccata in B flat minor Op 53 no 6 - Vierne
The Pro-Cathedral's annual series of lunchtime organ recitals ended in the customary way last Wednesday, with the cathedral's organ scholar. Derry-born Caroline Cutliffe played music by Bach and composers from the French symphonic-organ tradition.
One of the best performances was the fantasia from Bach's celebrated Fantasia and Fugue in G minor BWV542. Although present understanding of the stylus phantasticus would regard the speed as a bit too slow and regular, the playing was secure, and was satisfying in its natural musicality. The fugue was less convincing, more because of the want of rhythmic drive than the occasional technical insecurities.
In the French music the registration showed an awareness of the unique tonal qualities of the instruments for which this music was designed, and phrases were well-shaped. But Langlais's Suite breve and, to a lesser extent, Mushel's Toccata, did not capture the underlying dramatic impulse. Getting that across depends above all on a control of time, between phrases, as well during them.
The most complete performance was of Vierne's Toccata in B flat minor, from the Pieces de fantaisie. Caroline Cutliffe went for the dashing, moto perpetuo writing for the manuals, and her daring paid off.
