GALA NextGen showcases emerging talent on the ‘King of Instruments’

GALA NextGen Organ Concert | May 26, 2024

Presented by the Australian New Zealand College of Organists (anzco.org) on The Fincham Grand Organ at St Patrick’s Cathedral, Melbourne.

GALA NextGen is a regular showcase for emerging talent on the ‘King of Instruments’ (according to Mozart, that is): the organ and is organised by ANZCO, the Australian New Zealand College of Organists. 

These occasions provide a wonderful opportunity for students to perform on the largest and grandest of organs, in this case the Grand Organ at St Patrick’s Catholic Cathedral in Melbourne. Built by Fincham and Sons, the original pipes date from from 1870-80 with updates in the 1960’s, there are four manuals (keyboards), 81 stops, and an enviable and challenging acoustic. 

The program opened with Caleb Nah performing the Chaconne in G minor by Louis Couperin, arranged by our very own maestro of the organ, Siergio de Pieri, followed by the Toccata from Suite Gothique by Léon Boëllmann. Caleb immediately put the ‘grand’ in Grand Organ and showed some fancy footwork in the famously ominous bass of the Toccata.

Tristan Sumarna performed four movements of a Suite by Jacques Boyvin from the French Baroque. A beautifully serene Prélude, followed by Fugue played exclusively on reeds, a delightful Dessus de cornet separé ou de petite tierce – a solo wandering reed against the background of soft flutes – and Grand dialogué a 4 chœur, with a disappearing echo choir. 

The Toccata from the Twelve Pieces for Organ, No. 3 by Théodore Dubois was a joyful reverie of sound by Linka Wang, who cleverly did not let the acoustics of St Patrick’s overwhelm her performance, but wrangled in the reverberations and let us really enjoy its playful melodies. 

Bach’s Organ Sonata No 1 in E Flat Major (BWV 525)’s First Movement certainly showcased Joshua Ong’s dexterity, and after all that restraint Alexandre Guilmant’s Final from the First Sonata – Symphony for Organ Op. 42 felt like an unbridled explosion of sound and moments of great elegance with beautiful melodies and building cadences. 

Next up was a refreshing change of style with Cecelia Spicer, who gave a very fine performance of the Processional Fanfare by composer Noel Rawthorne, which was everything stately and contained in that particularly English style. 

Reuben Johnson tackled Bach’s Chorale Prelude Christ lag in Todesbanden (BWV 625) with its swirling chain motifs at a singers pace, which was no mean feat. This was followed by the wonderful work for Advent known in English as Sleepers Awake, Wachet auf, ruft uns die Stimm (BWV 645) with the obligato dancing around, sounding almost impatient to wake the other part. 

Before the final performance, ANZCO’s Director of Development Christopher Cook thanked everyone present, especially the young performers and their supporting families, which I’m sure extended to the teachers present, including Thomas Heywood (also President of ANZCO), Jennifer Chou and David Macfarlane. 

It was a fitting, triumphant performance of Louis-James Alfred Lefébure-Wély’s Sortie in E-flat major by Alex Lee that closed the Gala NextGen. As many of the organists present noted to me, there was no fluff in the program – it was all challenging and demanding music. Well done to all the performers. 

As I left St Patrick’s ears ringing with music and full of hope about the future of organ music, I could see a crowd gathering around the organ console with many new faces eager to meet and play the spectacular Grand Organ. Who knows, they might be headlining the next NextGen coming up on 18 August (NextGen — Australian and New Zealand College of Organists (anzco.org)). 

Thanks especially to the Australian New Zealand College of Organists for continuing to foster and encouraging emerging talent on the organ. 

NB: classikON Ambassador, reviewer Daniel Brace is the President of the Organ Music Society of Victoria.