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Fanfare

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