Priory CD 809

Some discs are of interest because of the choice of repertory, others on account of striking performances, even if of familiar works. This CD has both virtues, as well as providing the distinctive sounds of four superlative organs.

The program opens on the II/26 Dutch Organ in School Hall, which dates from 1773. It reached Eton in 1924, and was restored by Flentrop in 1973. We hear the Toccata in F major, BuxWV 156, typical of the multi-section Buxtehude style, but especially attractive in the sound of the instrument. The Georg Böhm Partita on 'Ach, wie flüchtig' with its eight variations displays the rich colors of the organ.

The next two selections are heard on the III/53 Tickell organ in the Lower Chapel, for which the builder has provided an extensive description. The programmatic Pastorale of Roger-Ducasse has fallen somewhat out of programming favor since my youth, but Clive presents a convincing case for this Romantic work, and the much-modified Cavaillé-Coll tonal design serves it well. A welcome novelty is the witty and engaging Scherzo by Lionel Steuart Fothringham (b. 1973).

The elegant little Snetzler chamber organ, with a divided single manual, serves for four early English works. The first is a fine Fantasia by Benjamin Cosyn. It is followed by three charming miniatures of John Stanley: a Flute Fugue, a Trumpet [Voluntary], and another Fugue.

The program concludes with three 20th century works appropriately chosen for the IV/63 Hill organ in the College Chapel. A detailed history and full specification are provided (but note that the Solo stoplist is broken between the first column of one page and the top of the flip side). The Flourish and Reverie by Francis Grier is an extended work of nearly 15 minutes, sometimes arresting, sometimes reflective in musical style. The conclusion is the lovely Parry Chorale Prelude on 'Melcombe' and the magnificent Fantasia and Toccata in D minor of Stanford.

Clive Driskill-Smith, still in his 20s, has earned an enviable reputation on both sides of the Atlantic. Possessed of a dazzling technique and a thorough musical understanding, he excels in every work on this varied program. Producers and editors Neil Collier, Paul Crichton, and Ralph Allwood have done an excellent job of presenting the sounds of these four organs. This recording is not to be missed!

Review by Victor Hill, Ph.D. (Journal of the Association of Anglican Musicians)
February 2006

On this disc Clive Driskill-Smith takes the listener on a musical tour of the organs of his old school, visiting the Dutch Organ in School Hall (originally built for St Mary's English Episcopal Church, Rotterdam in 1773); the French-inspired three manual organ by Kenneth Tickell built in 2000 for Lower Chapel; the beautifully toned Snetzler organ in College Chapel and the mighty four-manual Hill organ, also in College Chapel. The booklet includes colour pictures of and informative notes on each of the instruments. The carefully chosen programme splendidly illustrates the beauties of each organ, with repertoire and instruments appropriately matched. The Dutch Organ's pedal Fagot, for instance, is gloriously honky in Buxtehude's Toccata in F. I especially enjoyed the witty and rather tricky Scherzo by Lionel Steuart Fotheringham (a sometime Eton Music Scholar), played on the Tickell organ; while the imperial tone of the Hill organ is the perfect medium for the last three items on the disc. All in all, Clive Driskill-Smith proves himself to be a master performer in a range of musical styles. His playing is immaculate and Priory's recording quality is crystal clear.

Review by Christopher Maxim (Organists' Review)
May 2005

Again from Priory, Hill's work appears on a new disc recorded by the young British organist Clive Driskill-Smith. 'The Organs of Eton College' celebrates the instruments in the care of Driskill-Smith's former school. There is lots of variety in the programme, from Pepusch on a small Snetzler, to yet more Buxtehude on the eighteenth-century Dutch organ in the school hall. The really interesting items, though, are actually by old Etonians: Lionel Steuart Fothringham's Scherzo has some unusual touches - played on the Tickell organ in the Lower Chapel - and Francis Grier's Flourish and Reverie is engagingly delivered on the Hill in the College Chapel. Of the recent organ discs whose primary function is to illustrate the instruments rather than the repertoire, this is definitely one of the more entertaining (Priory PRCD809, 1 hour 16 minutes).

Review by Warwick Cole (International Record Review)
January 2005

Clive Driskill-Smith was more fortunate than most organists in having no fewer than four instruments at his disposal during his schooldays at Eton College! His return to his Alma Mater for Priory is a great success. A well-balanced disc nicely contrasts such disparate composers as Roger-Ducasse, Parry and Buxtehude. Since few of the general public get to hear these instruments in the flesh, this timely release fills a niche. The recorded sound is excellent.

Review by Malcolm Riley (Gramophone)
October 2004

When a school obtains a new organ it is indeed cause for celebration. If a school has two organs, this is indeed very rare but to have four? Eton College in the UK has four distinctly different organs on its campus and to have an old boy (who is not that old!) of the calibre of Clive Driskill-Smith to demonstrate them all is even more reason to celebrate this new recording from Priory. The four organs are as follows. The first organ heard on the CD is the Dutch Organ in School Hall which was built by Mittenreiter of Leiden in 1773. It has 2 manuals and pedals and 21 speaking stops and was restored by Flentrop in 1973. The second instrument heard is the new Kenneth Tickell and Co. Organ built in 2000 for the Lower Chapel. This has 3 manuals and 41 speaking stops and is in the French Romantic style. The third organ is the Snetzler Organ in the College Chapel. Undated, it comes from the mid 1700s and has one manual with about 7 speaking stops, some of which are divided. It had some repairs undertaken in 1938 by Harrison and Harrison. The final organ heard is the Hill Organ in College Chapel of 1885. This has four manuals and 55 speaking stops. It was restored by Manders in the late 1980s.

Clive has chosen a very varied program of music with either connections to the instrument (music written for that period and style of organ) or music written by past Etonians. He adjusts his touch and articulation appropriately for the various periods and styles of music so that we get beautifully articulated lines in the Buxtehude and pianistic virtuosity in the Roger-Ducasse. He explores the most colourful registrations on each instrument so that we get an excellent taste of each one during the few pieces played on each. Having heard Clive play live in concert several times, (Sydney, Melbourne and last week in San Diego) one thing I have found about his playing is that apart from a formidable technique, he has a real gift for registration and brings the best out of an instrument and to the music in hand at the time.

The CD booklet contains notes about the music and detailed articles about each instrument, their history and specifications. There are also several colour photos.

I was a little disappointed in the small acoustic for the new Tickell, particularly when its style relies so much on a large acoustic. Perhaps it may have been recorded more closely than the other instruments as the sound seems very direct. The Hill organ on the other hand, resounds in several seconds of reverberation, while the rattling trackers are very noticeable in the Snetzler pieces - all adding authenticity to the recording. The two longest works are also the most technically advanced for the player and he takes great delight in showing off the Hill Tuba in the Grier (the first Eton music scholar) Flourish. The Ducasse is a real tour de force (it was one of the required performance works for the final of the AGO Organ playing competition in LA so we got to hear this several times) and Clive brings it off with what sounds like no effort at all.

As there is such variety in repertoire and organs being played, it is impossible to single out any track for special attention.

As the Americans would say, "Two thumbs up!"

Review by Mark Quarmby (Sydney Organ Journal)
25th July, 2004