The Royal Organist

James O’Donnell, Conductor, Organist and Teacher, previously Organist and Master of the Choristers at Westminster Abbey and now Professor of Organ and Sacred Music at Yale University amongst other musical activities as an international performer was guest artist this last weekend performing a relatively unknown work with a fascinating history by Belgian composer Joseph Jongen along with Saint-Saens classic Organ Symphony. Unfortunately I missed the performance of Bach’s famous Toccato and Fugue in D minor as it was only included in the concert the following day.

It’s good to hear the Concert Hall’s 'resident' Klais organ blowing out a few more cobwebs as it’s rarely used though being an impressive showpiece to adorn Brisbane’s best concert venue, certainly acoustic-wise. Interestingly, Jongen’s work was commissioned by retail store magnate Radman Wanamaker to be performed at the opening of the instalment of a considerably larger Klais organ in the Royal Court at his store in Philadelphia, USA. Though the opening event never eventuated for a number of reasons, the Symphony Concertante, as it’s labelled by the composer, has become recognised as one of Jongen’s most popular, sadly for one whose musical output was so prolific.

On first hearing, this work in four contrasting movements blew me over (no pun intended) with its dynamic use of inventive harmonic texture - whole-tone intervals in abundance amongst other alternatives - and colourful orchestration. Where the composer’s mindset was during creation is a dimension to behold, and he was certainly out to impress. Also, how they planned to include such a large orchestra and orchestral sound, along with the output of a 6,500 pipe organ, in a shopping centre is beyond me, certainly if the architects hadn’t considered adding additional foundational support! What an aural sensation, laced with a touch of the eccentric!

Included with the concert was a short orchestral-only work by Australian contemporary composer Harry Sdraulig, Colourscapes, expressing, as the title suggests, the vibrancy, in this instance, associated with specific instruments of the orchestra. Sdraulig explores the orchestra similarly to a painter’s palette creating a rich and endearing wash of sound reminiscent of Impressionism and a fresh look at the exploration of tonal colour, one of his ambitions; and which we hope to see more of.

To finish the concert, what better than to include Saint Saen’s popular Organ Symphony, grandly performed by all and sundry, the famous fourth movement always being a treat to hear complete with its full instrumentation including even four-handed piano.

Despite the impressive standard of performance and additional spotlight on some passionate conducting from international Spanish guest conductor Pablo Gonzalez, this particular concert was promoted as an organ concert as such and James O’Donnell sadly came across as more of an ‘instrument-of-the-orchestra’ rather than a soloist - despite his position up high, so to speak. Though the Bach Toccata and Fugue was part of another concert, Jongen’s work, as the composer stated, was not intended to be a concerto and came across as just that whilst the Saint-Saens symphony organ part is somewhat sporadic and scored for only two of the four movements.

However, suffice to say I was mostly blown away – yes, pun intended, and without the cobwebs – by this concert with a difference being a continued artistic exploration of the diversity of orchestral repertoire and impressive creative output of the QSO, their team and regular guest artists.

Brian Adamson

Photographer: Sam Muller