Introduction and Allegro

Introduction and Allegro “The Introduction and Allegro uses a harmonic language closer to that of Messiaen and is also more rhythmically varied than any previous piece of mine - it was composed as a kind of riposte to Messiaen’s Dieu Parmi nous….both were included at the beginning and end of my contribution to EMI’s Great Cathedral Organ series in 1966” Once I read this I realised that I had to record it on a French organ and, again, opted for “St Ouen”. This work dates from 1959 and is dedicated to his wife Mary, whom he married in 1953.
Mary Wills was a force of nature and nearly as tall as Arthur! Mary often accompanied Arthur on his tours and often acted as his page turner and console assistant. Arthur notes that “Later on in her [page turning] career [she suggested] that a ten percent fee would be appropriate for this essential activity!” Quite right too!
At this juncture it is worth returning to the H&H organ and remembering that, in 1959, when Arthur wrote this piece only a little bit of tinkering had taken place, otherwise the organ was much as it had been left by Arthur Harrison in 1908.
It was Michael Howard, during his brief tenure as organist, that laid the foundations for future experimentation. Soon after his arrival Howard with the help of the organ tuner experimented with transposing pipes on the Choir Organ and fashioning a Nazard and a Tierce as well as obtaining an Unda Maris by returning the Dulciana to beat against the Gedact and a Fifarro by retuning the Salicional to beat with the Open Diapason. These new undulants were retained in the 1975 rebuild and remain until this day, providing a somewhat luxurious warmth to the 8’ palette.