It was a pity to call the record ''John Scott Plays Liszt At St Paul's Cathedral''. He most certainly does and a wonderfully impressive performance it is. But listeners must accept that the glorious sounds of the Ad nos Fantasia are constantly projected against an incredibly powerful acoustic backwash. If that in itself is a recommendation, then I can only say that Scott's handling of the immense resources at his command is masterly and his playing not merely brilliant, but deeply moving too. I have to admit that Simon Preston at Westminster Abbey for DG brings the detail closer, though with an altogether more sombre tone. Hans Fagius at Katarina Church, Stockholm (BIS) is marginally steadier, though it's a fine performance, not without some acoustic opposition. Jennifer Bate at the Royal Albert Hall in London (ASV) is the clearest of all but the recording is spoilt by some out-of-tune stops.
However, I think John Scott's record ought to be retitled. One is much more likely to wallow in the tumultous sea of Liszt after listening to the stunning Side 1 of French music. Gigout's Grand choeur dialogue pits the archangelic Royal Trumpets over the West Door against the blazing glory of the main organ. Guilmant's Lift up your heads March is taken slowly enough to keep the detail in focus. The mysterious, spine-chilling La cinquieme trompette of Jean Langlais brings apocalyptic terror stalking up the cathedral's aisles and the blood-curdling beating of locusts' wings circling the area beneath the dome. The layout and registration of this visionary work are such that the cathedral's fantastic acoustic presence makes a perfect vehicle for it. Mulet's toccata Tu es Petra receives here one of the finest performances I have heard, clarity being achieved as much by the precision of the playing as by the balance. The whole record is a tour de force, but the French side is truly superb.'