Sir Edward Bairstow (1874-1946)
The Complete Organ Works
Daniel Cook (organ)
rec. 2022, Durham Cathedral, UK
Priory PRCD1248 [78]
The names of Sir Edward Bairstow and John Ireland are not ones that the mind might easily link together, but in terms of their works for the organ, there are similarities. Both composers wrote comparatively little for the instrument, and most of what they did write was created early in their careers. Both Bairstow and Ireland then went on to decades at the organ console, but only composed new works for the instrument at the end of their careers (in terms of Ireland, after his career was officially over).
In the case of Bairstow, the early organ works all date from 1900-1911. One only needs to know that Bairstow became Director of Music at York Minster in 1913 to theorize about the paucity of organ music from then on. His first published organ work was the Evening Song, a reworking of a piece originally for cello and piano, followed by the Nocturne of 1903, give early evidence of his growing imagination in handling of form.
Bairstow’s works from 1906-07 show his increasing grasp of development and an occasional note of whimsy. The 1906 Scherzo has a charming waltz as its first subject and an effective counter-subject, but what stands out is the slightly enigmatic coda, foreshadowing the sometimes gentle, occasionally mysterious codas of later works. Very different are the other pieces from 1906: the Meditation and the Prelude in C. Both contrast stately or solemn music with more scherzo-like material, but where the Meditation ends as it began, the Prelude ends almost humorously, as if Bairstow was enjoying himself.
The Legend from 1907 shows greater sophistication than the 1906 works, with clever development of the several contrasting sections. After this Bairstow wrote no organ music until 1911, when he produced three substantial works, the Prelude on “Vexilla Regis”, Elegy, and the Toccata-Prelude on “Pange Lingua”. Listeners may remember that both Holst and Ireland also wrote works on the “Vexilla Regis” plain chant. Unlike his earlier works, Bairstow’s piece is through-composed, and it has an orchestral sumptuousness. More intimate is the Elegy, with its combination of stateliness and lamentation, surely one of the best works in the composer’s output. I found the Toccata-Prelude less moving, although it is an interesting formal experiment.
After 1911 Bairstow wrote nothing for the organ for over two decades. Several times in this period he contemplated writing an organ sonata, but only achieved this in 1937, with his Sonata in E flat. The opening Andante serioso wends its way through a variety of keys and emotions without ever becoming ponderous. The scherzo is full of vitality, and imaginatively structured, while the final maestoso movement ends with another of Bairstow’s gentle codas. Bairstow’s last works for the organ, written not long before his death, were the Three Short Preludes. The first two are relatively simple works, both enjoyable, especially the light-hearted second. More complicated is the Prelude on Vexilla Regis, based on the antiphon for Advent of that name, and a fine finish to his organ composition.
Recording the complete organ works of various composers, as for example Sir Herbert Brewer (review ~ review) and Sir William Harris (review), and many others (reviews), has become a specialty of organist Daniel Cook. From one recording to the next he shows increasing mastery of tonal resources as well as emotional expression. The recording quality of this disc is remarkably good, taking full advantage of the Durham Cathedral acoustic, and the notes by Jeremy Dibble are up to his usual high standard. I look forward to seeing who Daniel Cook will devote his attention to next.
William Kreindler
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Contents
Prelude in C [3:25]
Legend [8:08]
Scherzo in A flat [4:44]
Sonata in E flat: Andante serioso man con moto [7:33]
Sonata in E flat: Allegro giocoso [3:53
Sonata in E flat: Maestoso [5:15]
Meditation [4:37]
Nocturne [9:12]
Three Short Preludes: Andante [2:40]
Three Short Preludes: Adagio [1:35]
Three Short Preludes: ‘Veni Emmanuel’ [2:57]
Evening Song [7:05]
Prelude on Vexilla Regis [4:39]
Elegy [7:23]
