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Healey WILLAN (1880-1968)
Organ Works

Prelude and Fugue in c (1908) [11’36]
Chorale Prelude on a Melody by Orlando Gibbons (1950) [3’31]
Introduction, Passacaglia and Fugue (1916) [19’35]
Aria from A Fugal Trilogy (1950) [2’14]
Five Preludes on Plainchant Melodies (1958) [19’31]
Passacaglia and Fugue No 2 in e (1959) [12’48]
Prelude on ‘Aberystwyth’ (1956) [2’57]
Epilogue (1908) [5’22]
Patrick Wedd, organ
rec. Église Saint-Jean-Baptiste, Montréal, Canada, 26-28 February 2002. DDD
NAXOS 8.557375
[77’39]
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I first became aware of Healey Willan’s music through a fine series of recordings of his church music for choir that Virgin Classics issued a good few years ago. However, this CD offers an opportunity to become acquainted with what appears to be a representative cross-section of his output for the organ. I say “representative” since it would seem from Patrick Wedd’s own excellent liner-note that he has chosen here a few of Willan’s most important and substantial concert works and a selection from the many shorter pieces that he wrote primarily for liturgical use.
 
The choice of the instrument on which this recital is played is interesting and apt. Almost as soon as he arrived in Canada in 1913 Willan was appointed organist at the church of St. Paul, Toronto, a post he occupied until 1921. In the year following Willan’s arrival at St. Paul’s the Canadian firm of organ builders, Casavant Frères, installed a substantial new organ there. Indeed, Patrick Wedd describes that organ as “formidable.” The instrument at the Église Saint-Jean-Baptiste, Montréal was installed just one year later, in 1915, and it seems to be of similar magnitude and tonal resource to the St. Paul’s organ. So, here we have an opportunity to hear Willan’s music on an organ very similar to the one that inspired at least some of these compositions.
 
The biggest and best work on this disc was undoubtedly inspired by the St. Paul’s organ for the Introduction, Passacaglia and Fugue was composed in 1916, during Willan’s period as organist there. It’s a most impressive work. The Introduction is commanding. The Passacaglia begins in sepulchral quietness on the pedals and then in the space of some seven minutes Willan takes us through no less than 18 variations. For the first five minutes or so the passacaglia is pretty subdued but Willan builds his edifice patiently and the music gradually grows in power and majesty, showing off the full resources of the organ. The last couple of minutes of this section are given over to a quiet, atmospheric chorale before we reach the concluding double fugue. This, too, is a movement that builds patiently. It sounded to me to be the work of someone who knew his Bach. The work end most imposingly. It’s a grand, ambitious piece and it’s played splendidly by Patrick Wedd.
 
Many years later, in 1959, Willan wrote what might be called the Little Brother of the Introduction, Passacaglia and Fugue. His Passacaglia and Fugue No. 2 in E minor was dedicated to Sir William McKie, the organist of Westminster Abbey. The two had met and become close friends in 1951 and it was at McKie’s instigation that Willan was invited to compose a motet for the Coronation of Queen Elizabeth II in 1952 - I hadn’t previously known this. The structure is very similar to the 1916 work though, at under one minute, the introduction is much shorter this time - it’s not a separate movement on this occasion. Again the Passacaglia begins on the pedals and this time there are twelve variations. As before, Willan is skilful in his variations and employs impressive cumulative patience in constructing the movement. As before the fugue is preceded by a subdued chorale. This is harmonically quite remote and the listener is unsure - or, at least, initially this listener was unsure - where the music is leading. The fugue is again a massive double fugue. I thought it was rather dense in places and I don’t think that’s the fault of the performer. This is a fine work but I’m not sure it’s quite as impressive an achievement as the Introduction, Passacaglia and Fugue
 
The Prelude and Fugue in C minor is the odd piece out in this programme in that it’s the only one written before Willan’s emigration to Canada. It dates from 1908. It contains a powerful prelude and a substantial double fugue. From about 5:20 onwards in this performance of the fugue the pedal part is thunderous as Willan recalls the music of the prelude. The ending is majestic and this whole work constitutes an arresting start to the recital.
All the remaining pieces are shorter and were, in the main, designed for liturgical use. They are musically sensitive and would undoubtedly enhance any liturgy at which they were played. The Five Preludes on Plainchant Melodies constitute a collection but each can stand alone. The central three are all essentially reflective but the first of the set is jubilant while the concluding piece, Urbs Hierusalem beata is a majestic processional. Listening to it one can readily imagine a long High Church procession, headed by crucifer and, in a cloud of incense, a thurifer.
 
Throughout this recital Patrick Wedd is a most persuasive and skilled advocate for Willan’s music. The engineers have captured the sound of the organ - and the acoustic of the church that houses it - most impressively. Though the selection has been artfully chosen with sufficient variety that one can listen to the whole disc straight through I’m not sure I’d advocate this. The disc is perhaps one for dipping into.
 
Mr Wedd writes his notes as persuasively as he plays Willan’s music and the booklet also contains a full specification of the organ.
 
I’m delighted to have encountered this disc as will anyone interested both in organ music and in the music of the Anglican Church. I just hope Naxos will now give us some of Willan’s orchestral music.
 
John Quinn
 
see also review by Chris Bragg

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