One expects Keith John’s recordings to be notable for their enterprise, enthusiasm and high standards of execution. This latest offering (recorded in February 1996) is no exception and presents the listener with a feast of organistic edification. Here are variations a-plenty, encompassing both original and transcribed works, played on a recent (1995) organ built by the Swedish firm of Akerman and Lund and based on French romantic models.
From the outset, Liszt’s Variations on ‘Weinen, Klagen, Sorgen, Zagen’ show the might and power of this instrument. John has returned to Liszt’s original 1862 piano version and retranscribed it in preference to the composer’s own blander organ arrangement of 1863. Mozart’s enchanting Pastorale variee brings aural relief with its evocation of a shepherd and his pipe.
The juxtaposition of original works by Schoenberg and Ives (both born in 1874) is instructive. Although the Variations on a Recitative have a reputation for being problematic (for player and listener alike), they sound as striking today as they must have at their premiere 55 years ago. This is partly due to John’s ability to colour and clarify the innumerable changes of texture and tempo. Stirring stuff! There is plenty of zest in the Variations on America by the teenage Ives, a work better known to some in William Schuman’s orchestration. Here John throws everything into the pot, though sometimes I wished for more dynamic contrast in tender moments. The same applies to the excellent transcription of the Brahms.
These are strong performances, boldly played and brightly recorded. There were brief drop-outs at the edit points in tracks 9, 10 and 11.'