The London organist James O Donnell played in Friborg.
Very British! The same predicate was part of the evening at the "Orb and Scepter" march. William Walton had composed it in the orchestral version of the coronation of Queen Elizabeth II on June 2, 1953. James O Donnell, organist and choral conductor of Westminster Abbey, wrote played on the organs of Friborg. It is clear that on this occasion, it was necessary to use the Tuba magna, based in London for the Münster in 2008, register of high pressure placed on the west gallery. O Donnell, the representative born in Scotland in 1961, presented at the coronation march all that goes with: a music that combines worldliness with dignity and a bit of Edward Elgar.
James O Donnell has always acted supremely, tense and accomplished. The fact that the trained organist in London and Cambridge is a master, soon showed. Moreover, in terms of music, the rigor and the tension are not less important. This had already been noticed at the beginning of the C minor Passacaglia Bach, written on the baroque mechanical organ of the long nave of the baroque side. The island guest started this variation work with a main sound, but nevertheless made the changes look more like the custom of the old fathers: a dynamic increase. In addition, you have heard playing organ here more than Legato-related exercise. Nicely, the fugue chamber music moments, as well as those who knew well and each elevated head reached striking striking points from both parts of the work.
The key man has a keen sense of the essential message of a work. For example, he retraced the arch form of "Appearance of the eternal Church" by Olivier Messiaen (1932). The musically designed vision of an everlasting church, in which the music that sounds makes almost all theological libraries almost superfluous. The archaic and timeless gravity of empty fifths, the radiant top in major major: touching! Not to mention the way the organist has spatially organized the mystical entrance: the foundation 32 feet away, the manual tasks of the before.
Nice, as was used in Frank Bridges Adagio strings and even in basic vocals. However, James O Donnell is particularly strong in French, even beyond Messiaen. César Franck's 1890s minor chorale has almost never been experienced so vividly, expressively and dramatically. Then, this symphonic chorus without text of the year of the death of the composer is not a sweet Heinrich. Although the work was also blown away by episodes – think of the major appearances of Human Voice, this ethereal register in the swell of the new choral organ. Where Franck translates elements (of Bach) Chaconne and Fugato into his own romantic musical language: O Donnell demonstrated it in the film in a very authentic way up to the opulent fields of the symphonic.
In the late evening, the most important French symphonist, alongside Charles-Marie Widor, was Louis Vierne. How did the London guest performed the first movement of the second symphony of the long-time Parisian organist, composed of sonatas: And Class. Then, this e-minor movement of 1902/03 sounded in all the parameters as it should be. 2020 is the year Vierne (150th anniversary!). You can expect that today.