Horsham lunchtime organ recitals resume with ceremonial spectacle and Baroque brilliance

Spokesman Luca Imperiale said: “Gerald Taylor presents an autumn recital that moves deftly between ceremonial spectacle, Baroque brilliance and Anglo-French charm. The concert opens with the grand Procession of the Mastersingers by Richard Wagner, a fittingly ceremonial beginning that allows the organ to assume an orchestral sweep, its principals and mixtures evoking the noble pageantry of the original stage music.

“From Wagner’s theatrical grandeur, the programme slips into a more intimate Baroque effect with one of the recital’s centrepieces, J S Bach’s Concerto No 1 (1st movement) BWV 592. The concerto is an arrangement of an early work written by the hand of Johann Ernst of Saxe-Weimar who was a pupil of Bach’s cousin, J.G. Walther, that died tragically young. This piece serves as a fascinating example of the composer’s engagement with contemporary concerto models and his imaginative reworking for organ. Bach’s idiomatic handling of concerto textures translates richly to the instrument, offering both soloistic brilliance and contrapuntal conversation.

“Johann Pachelbel’s Toccata in E minor continues the recital in the Baroque tradition. Though less famous than some of his chorale works, Pachelbel’s toccatas reveal clear, lively figurations and a contrapuntal clarity that resonate well on the articulate flute and reed church organ stops. Moving through time, Mozart’s Epistle Sonata, (K.336) follows: elegant, refined and liturgically poised, this miniature sonata will showcase the organ’s warmth and the player’s sensitivity to line and articulation.

“A jaunty March on a Theme of Handel by Alexandre Guilmant brings nineteenth-century French organ colour into play, bright trumpet registrations and crisp pedal writing conjure a ceremonial march with continental flair. However, the programme next yields an intriguing novelty: Beethoven’s Allegro for a Mechanical Organ, a short, characterful piece that pairs period humour with mechanical clarity; its playful motoric energy makes for an entertaining contrast.

“The afternoon continues with J S Bach’s Dorian Toccata, BWV 538, a work of penetrating intensity and organistic magnificence: its dramatic figurations and sustained pedal lines make it a favourite for testing registration and pedal technique. The recital closes with Paean by Percy Whitlock, a twentieth-century English postlude of bright, optimistic character that sends listeners away on a celebratory note.”

No booking required — just come along. Entry is free, with a retiring collection in aid of the Music Circle’s concert promotions. For more information see www.horsham-music-circle.org.uk or phone 01403 252602.