Organist Complements For This Summer Last Updated: February 24, 2016 (over 2 years ago)

LIKE Gisborne’s 1st day of summer, the primary of the 2016 lunchtime concert series at St Andrew’s Church yesterday covered all four seasons.

The concert opened with Springtime. Among selections played by guest organist Ian Miles was his harpsichord accompaniment for Gisborne singer Gavin Maclean’s theatrical delivery of the piece from Baroque composer George Handel’s work, Acis and Galatea.

Mr Maclean took within the character associated with an oafish giant excited about sea-nymph Galatea, and brought Shrek-like poignance to sentimental lines for example “I rage, I rage, I melt, I burn . . . O ruddier as opposed to cherry.”

The concert met its brief “from baroque to blues and back again” in American jazz pianist Willie “the Lion” Smith’s composition Echo of Spring. Mr Miles found the subtle swing from the work, which had been inspired with the rhythmic sound of the train and burst of sunlight on exiting a tunnel.

Among pieces inside the Summertime section was 1800s French composer Alexandre Guilmant’s organ sonata Pastorale, and German composer Johannes Brahms’ Geistliches Wiegenlied (Sacred Lullaby).

Accompanied by Mr Miles on organ, and Craig Drummond on viola, Gisborne soprano Catherine Macdonald delivered a heartfelt performance.
Mendelssohn's Nocturne

Felix Mendelssohn-Bartholdy’s Nocturne (A Midsummer Night’s Dream) stood a soporific influence on a few within the audience but that changed within the Autumn section.

Among that season’s selections played on piano by Mr Miles was twentieth century English composer Madeleine Dring’s lightly melancholic Blue Air plus the slightly more waltzy Valse Francaise.

Mr Miles brought another change of tempo and to the season with twentieth century piece Cat’s Cradle by English composer Bryan Kelly.

Winter arrived with Mr Miles’ organ accompaniment to Mr Maclean’s rendition of Austro-Hungarian composer Franz Lehar’s 1929 work Du Bist Mein Ganzes Herz (You Are My Heart’s Delight).

Mr Maclean invested his performance with the piece with power and passion that rose across the cheesiness inside the composition and ended over a crowd-pleaser of any big note.

Nineteenth-century French composer and organist Camille Saint-Saëns’ Fantaisie No.1 rounded from the concert that has a full bass opening in Mr Miles’ performance for the church organ. for more knowledge check


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