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Back in 43:3 I gave a decidedly negative review to a previous recital disc by British organist Alexander Ffinch, saying that “the performances, while models of proficiency technically, are utterly antiseptic interpretatively.” Here, I am happy to say, the results are much improved interpretively, if not always ideal. If “Jupiter” could have a bit more spark in the faster outer sections and grandeur in the broader middle one, it still comes off fairly well. In issue 43:1 I wished that a disc featuring only two of the four movements of the Organ Suite No. 1 by Florence Price had presented the entire work, for those selections sounded promising. My intuition was not wrong, and Ffinch fully captures the delightful spirit of the piece. The brief (3:43) Paradise of Chris Martin, lead singer and songwriter for the rock band Coldplay, comes off well enough for the trifle that it is. The three Elgar pieces make their desired effect: The Pomp and Circumstance March No. 1 is merry and grand, “Nimrod” is stately and moving, Chanson de matin is quiet and delicate.

Rubrics (1988) by Dan Locklair (b. 1949) is the most “advanced” work here—still quite tonal, but with some adventurous harmonies. The work’s main title refers to rubrics for the conduct of the service of Holy Communion from the 1979 Book of Common Prayer of The Episcopal Church, with the subtitles for each of the five movements quoting a particular liturgical action or response: a shout of “Hallelujah!”, silence, giving of thanks, exchange of the Peace, and a response of “Amen.” As one might guess from these descriptions, the second and fourth movements are very quiet, and the other three quite extroverted, including some rambunctious jazz in the middle one. Once again Ffinch shows a total sympathy for American idioms. On the other hand, I find the performance here of the Boëllmann’s Suite gothique somewhat lacking in French lightness of touch, energy, and flair—it sounds rather Germanic instead. The booklet has notes taken from various sources—an essay on Florence Price by Calvert Johnson, an interview with Locklair regarding Rubrics—plus a group note for the transcriptions, but unfortunately no information on sources or identification of the author (Ffinch, I presume) for all of the other notes. The organ of Cheltenham College Chapel, restored by Harrison and Harrison in 2017, is well recorded, and specifications for it are provided, along with an artist bio. The recorded sound is clear. Overall this is an attractive recital; recommended 

—James A. Altena

@divineartrecordingsgroup

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On 10 October, Métier is thrilled to present Michael Finnissy: Organ Works from acclaimed American organist Forrest Eimold! Don't miss Paul Hindmarsh's marvelous new piece in Classical Music Magazine on the importance of Britain's Brass Bands. A great primer for our new release, Discovering Wilfred Heaton! 3️⃣ Tracks from the 3 October release, Discovering Wilfred Heaton, are #nowplaying on Apple Music Classical and more! Don't miss both of our new Métier new releases on Deezer's New Classical Picks Playlist! ▶️ Listen now in our bio link. Today, Métier presents a “monumental” (The Wire) 4-disc box set from pianist Ian Pace in commanding performances of music by composer Michael Finnissy (b. 1946). On all platforms today at listn.fm/finnissypiano Métier Records is thrilled to release “Because They Have Songs” from composer Edward Cowie and featuring Gerard McChrystal and Richard Shaw! Out now on all platforms ▶️ listn.fm/becausetheyhavesongs “This monumental piano release features Michael Finnissy’s Verdi Transcriptions plus English Country-Tunes, and other compositions inspired by 19th century music. Soloist Ian Pace is a leading interpreter of Finnissy’s work, and has played his complete output for piano. Finnissy’s output is prolific, political and complex – he’s a leading late modernist.… luxuriant but challenging textures of the school often called new complexity.” —Andy Hamilton, The Wire Marvelous new MusicWeb International review for Edward Cowie: Because They Have Songs, before its release this Friday! “Buller is a composer who knows how to imbue feelings with ample warmth, colour and tension that keep the ear immersed in his sonic worlds. The musical language is largely tonal, with some roots in sacred choral traditions, yet with sufficient harmonic pungency to provide underpinnings of meaning to Leah Lax’s empathetic, urgent texts in the two extended works.… Conspirare, led by founding Artistic Director Craig Hella Johnson, respond to all of Buller’s emotional gestures with utmost cohesion and flexibility, and the soloists – basses Michael Hawes and Simon Barrad and soprano Emily Yocum Black – are first-rate.” —Donald Rosenberg, @gramophonemagazine “This performance will stay with me for a long time; it is both exquisitely beautiful and inherently melancholic.” —Edward Breen, Gramophone on Haitham Haidar's #Zaytoun