Stanford Organ Wks
An imaginative Stanford selection, winningly played on a fine organ
View record and artist detailsRecord and Artist Details
Composer or Director: Charles Villiers Stanford
Genre:
Instrumental
Label: Resonus Classics
Magazine Review Date: 10/2011
Media Format: Download
Media Runtime: 72
Mastering:
Stereo
DDD
Catalogue Number: RES10104

Tracks:
Composition | Artist Credit |
---|---|
Fantasia and Toccata |
Charles Villiers Stanford, Composer
Charles Villiers Stanford, Composer Tom Winpenny, Organ |
Canzone |
Charles Villiers Stanford, Composer
Charles Villiers Stanford, Composer Tom Winpenny, Organ |
Prelude and Fugue |
Charles Villiers Stanford, Composer
Charles Villiers Stanford, Composer Tom Winpenny, Organ |
(6) Preludes, Movement: In form of a Chaconne |
Charles Villiers Stanford, Composer
Charles Villiers Stanford, Composer Tom Winpenny, Organ |
Intermezzo founded upon an Irish Air |
Charles Villiers Stanford, Composer
Charles Villiers Stanford, Composer Tom Winpenny, Organ |
Epithalamium |
Charles Villiers Stanford, Composer
Charles Villiers Stanford, Composer Tom Winpenny, Organ |
(3) Preludes and Fugues |
Charles Villiers Stanford, Composer
Charles Villiers Stanford, Composer Tom Winpenny, Organ |
By the Seashore |
Charles Villiers Stanford, Composer
Charles Villiers Stanford, Composer Tom Winpenny, Organ |
(6) Characteristic Pieces, Movement: In modo Dorico |
Charles Villiers Stanford, Composer
Charles Villiers Stanford, Composer Tom Winpenny, Organ |
(6) Short Preludes and Postludes Set 2, Movement: Postlude in D minor (Allegro) |
Charles Villiers Stanford, Composer
Charles Villiers Stanford, Composer Tom Winpenny, Organ |
Author: Jeremy Dibble
His imaginative and carefully devised programme also reminds us that Stanford’s organ works repertoire began early with the Bachian Prelude and Fugue in E minor (1874), in reality a student work but one that, like much other early Stanford, shows many indications of the flair that would rapidly emerge in the late 1870s.
It is good to hear the somewhat neglected Prelude in Form of a Chaconne, Op 88 No 2, a dark, brooding neo-Baroque creation full of inventive harmony, and In Modo Dorico, Op 132 No 1, which Stanford transcribed from his piece for piano (and which found its way into his last opera The Travelling Companion), a powerful, austere example of Stanford’s consummate assimilation of modality. Both versions have their merits – the piano version has more poetry but the modal idiom chimes with the sustained tones of the organ.
One of the most attractive features of this recording, along with its generous booklet and informative notes, must be the inclusion of later works such as the Canzona, Op 116 No 2, the sprightly but rarely heard Epithalamium, Op 182 No 5, and the concert piece By the Seashore, Op 194 No 1, all of which, as premiere recordings, make this disc particularly rewarding listening.
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