ELGAR: Organ Sonata No.1 in G (Op. 28) – James Lancelot, Organ of Durham Cathedral – stereo DVD + CD Durham Media Academy SCMA100 (PAL or NTSC) DVD: 100:00; CD: 28:32 **** [available from The Elgar Foundation]:
Sir Edward Elgar (1857-1934) wrote the Organ Sonata in 1895. Hugh Blair, about to become organist at Worcester Cathedral, wanted a piece to show off to a group of organists visiting from the US, and from sketches he had written in his notebook, Elgar completed the work on 3 July 1895 and wrote on the manuscript “One week’s work”. Five days later on 8 July 1895, Blair gave the first performance on the cathedral’s four-manual Hill organ. The performance did not go well; according to Rosa Burley, a Malvern headmistress and friend of Elgar ”he made a terrible mess of poor Elgar’s work”.
The Sonata is in four movements and shows little sign of its hurried writing. It is remarkably symphonic in its construction and colours, leading some to describe it as Elgar’s Symphony No. 0. Indeed Gordon Jacob’s orchestration of 1947 is available on EMI conducted by Vernon Handley or on a Chandos SACD with Richard Hickox, either making an excellent companion for this issue.
The first and last movements are in sonata form, the middle two in arch (ABA) form; though there are very few hints about registration, the dynamics are given in great detail. This sonata is a very demanding work for the organist; indeed, there are a few passages pointed out by James Lancelot where adherence to the score is well-nigh impossible, and the player needs both an advanced technique and great reserves of energy to bring off a performance of this work.
James Lancelot performs this work with sensitivity and range; he brings out all the colours of the fine organ of Durham Cathedral, demonstrating the various solo stops to the listener’s advantage. From the opening of the first movement, with its nod towards “The Black Prince” itself dedicated to Hugh Blair, it is apparent that this performance has been conceived as an organic whole. Lancelot resists the temptation to linger unnecessarily and goes for the long view.
The performance is provided on a CD and also opens the programme on the DVD. Various chapters follow, each full of interesting information; a tour of the Elgar Museum which was Elgar’s birthplace shows us valuable artefacts, is followed by a chapter on the sonata’s creation and its symphonic structure.
Further chapters include a portrait of Elgar, the man, including footage of Elgar, concentrating not only on the musician, but the scientist, motorist and golfer. An interesting chapter follows from Mark Venning of Harrison and Harrison, the builders of the organ in Durham Cathedral. This includes discussion about Durham’s organ and on organ building in general, including a demonstration on the voicing of new pipes.
“Elgar and his music” puts the Organ Sonata in the context of other compositions. Lastly, James Lancelot takes the viewer on a tour of Durham’s organ and gives a masterclass on the sonata’s performance. Refreshingly, all of these chapters are given in a relaxed, intimate, conversational and natural manner, the few hesitations far more preferable to an artificial script.
Recording quality is excellent both for the music and for the spoken parts on the DVD, and the camera work brings out the sepia quality of the cathedral’s stone.
As no printed information is provided, these articles about the history and registration of the Durham Cathedral organs may prove useful. In addition, a fine article on the genesis of the Organ Sonata and the organs at Worcester Cathedral provides excellent supplementary reading. This issue is recommended very enthusiastically to all who love the music of Sir Edward Elgar.
— Peter Joelson
