Carlo Curley goes from strength to strength in his organ series for Argo. This is not only one of the most realistic organ records I have ever heard, but the playing is superb—it has wonderful bravura and no less conviction. Curley obviously revels in the music he records, and he communicates his great enthusiasm in a way that is all too rare in this repertoire. He produces an enormous dynamic range, so this is not a record for a semi-detached house (never mind a flat), unless your neighbours are very accommodating, or you have a reasonably sound-proofed room. Just sample ''Nimrod'' from the Enigma Variations. Curley begins very serenely and gently, even drawing back a little after the opening statement, then suddenly there is a dramatic burst of sound and the tune is presented with glorious eloquence, yet with still a reserve in hand for the final climax; then the closing diminuendo is beautifully managed. Whew! The inclusion of ''Nimrod'' is very appropriate for Curley ends his programme with a magnificent account of Elgar's Sonata in G, Op. 28, written in 1895 not too long before Enigma. I had not realized what a powerful piece it was, but alongside the ripe flamboyance of the outer movements, to which Curley is obviously naturally attuned, the mellow central movements are no less persuasively presented, the registration quite admirable.
Curley seems to feel the English organ style in his very being, for another masterly performance, notable for its restraint, is of Whitlock's simple ''Folk tune'', its pastel colours perfectly blended, while Norman Cocker's jaunty Tuba Tune is as jolly as you would expect with a tremendously grand finale. It is interesting too that the very English syncopations of Edwin Lemare's Rondo capriccio are readily recognized by this American Pavarotti of the organ: there is not the slightest suspicion of transatlantic jazziness, yet the jaunty rhythms are delineated with nice precision. Finally a joint word of praise for the magnificence of the Bristol organ and the quite perfect way it has been captured on this CD. The producer, Chris Hazell, and engineer, Simon Eadon have achieved near perfection this time, and I do hope this recording will be considered later for one of Gramophone's technical awards. Very highly recommended, to organ lovers, to Elgarians, to audio buffs, and to all admirers of charismatic keyboard playing.'