The music of Herbert
Howells remains justifiably popular
in Great Britain, and is becoming increasingly
known outside the UK. He is perhaps
best known for his choral music. It
is easy to understand why, as anyone
who has heard ‘Take him earth for Cherishing’
or the St Paul’s or Gloucester Service
Evening Canticles will testify. Howells’
organ music has also found a firm place
in the repertoires of British organists.
Howells himself was only briefly a Cathedral
organist, at Salisbury, and he assisted
at St John’s Cambridge during the war.
His use of the organ is, in the first
instance, orchestrally inspired, just
as the organs were which Howells knew.
The organ of Manchester Cathedral, heard
on the present recording, is then, in
one sense, rather appropriate, containing
as it does 73-note chests throughout,
so that the octave-couplers work all
the way to c61. This idiosyncrasy was
introduced in the 1950s when the organ
was substantially rebuilt by Harrisons
to the specification of the then organist
Norman Cocker, yes he of Tuba Tune
fame. Cocker especially enjoyed
playing orchestral transcriptions.
At no fewer than 89
stops, the organ isn’t lacking in colour,
its huge variety of enclosed 8’ stops
especially necessary in this repertoire.
What is lacking is acoustic. Some more
bloom in the sound would undoubtedly
aid the warm, though sometimes dark
and broodingly chromatic music. I wondered
occasionally if Christopher Stokes could
have used more überlegato
to mask the lack of aural decay, though
this is being really picky. It must
be said that Stokes’s programme is essentially
divided into two parts, so different
is the late Partita, written for Sir
Edward Heath. This gritty work receives
as committed a performance as could
be wished for. Stokes’s playing in general
is excellent; sensitive to the detailed
nuances of Howells’ notated phrasing
and using ‘his’ organ to maximum effect.
The Rhapsody No. 3 is given an especially
gripping reading. A former Professor
of Organ at Trinity College, and organist
of St Martin in the Fields in London,
Stokes combines his duties at Manchester
Cathedral with a teaching post at Chetham’s.
A very recommendable
taster of some of Howells’s best organ
compositions, all of which receive excellent
performances.
Chris Bragg
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