Andrew Grahame –
Review of Recital by Michel Colin 12 January 2007 and
Private Performance at Sydney Town Hall 14 January, 2007
On Friday 12th January a large and appreciative audience at Christ Church St Laurence was treated to a colourful and authoritative organ recital on the Hill organ. The performer was French organist Michel Colin, who was visiting Australia in his role as the new consultant for the restoration of the Puget organ at Rose Bay. With him was organ builder Charles Henry, whose firm has taken over the Puget project from Yves Cabourdin. The concert was another in the ongoing series of fundraising events organised by Rose Bay Chapel Society President Ann Henderson, whose zeal for this complex, ongoing project seems limitless.

To say that Michel Colin is an allrounder on the organ scene would be an understatement. Initial training in piano and violin were followed by organ studies then training as an organ builder. He performs, records and teaches organ and works as organ adviser to both the Ministry of Culture in France and to the principality of Monaco, and his accomplishments in the fields of composition and improvisation are formidable.
The programme began with an assertive rendition of Bach’s 9/8 C Major Prelude and Fugue. Powerful rhythmic force in the prelude contrasted with intriguing use of rubato in the well-articulated fugue, the latter being taken at a brisk pace.

From then on the programme was totally French, spanning four centuries. Michel Colin coaxed some delicious sounds from the Hill, especially from the reeds, the foundations and the pleno. We heard the various manual reeds soloing in various registers, all neatly complemented by an equally colourful assortment of flues. Ornamentation flawlessly captured the dual qualities which many players find challenging to combine – crispness and clarity on the one hand, yet smooth integration into the melodic line on the other.

After an extended taste of earlier periods with works by Balbastre, Dandrieu and Lasceux we were suddenly transported to the present day with one of Colin’s own compositions whose haunting dissonance made extensive use of unison tone in its varied textures. Then followed a range of romantic colours, including a stunning dynamic build-up in “Les Cloches” by Perilhou. This work in particular must have been quite a challenge on the Hill organ in the absence of ventils and a “trigger” swell. More of that wonderful rubato in some Guilmant works, then intriguing woodwind contrasts in Demessiux’ setting of “Adeste Fideles”. Then a truly riveting interpretation of a movement from Vierne’s First Symphony. More lush sounds, this time from the pen of Widor, set the scene perfectly for the tumultuous “Litanies” by Alain.

Then the highlight of the night, as Michel Colin showed his skills at improvisation. The three-part original theme was devised by the assistant consultant to the Puget project, Pastor de Lasala, who employed the technique of extending the musical alphabet beyond the first seven letters to spell out in notation some names associated with the Puget organ at Rose Bay. Clearly enjoying this opportunity, Michel Colin treated us to a seemingly endless variety of textures, maintaining strength and interest with one contrasting episode after another. Then a surprise as many in the audience went to leave – a measured interpretation of the Toccata from Widor’s Fifth Symphony as a delayed encore stopped them in their tracks.

Two days later Michel Colin and Charles Henry were treated to a private viewing of the Sydney Town Hall organ. For the small group of folk closely associated with the Puget project who came along this was an experience of a lifetime. Friday night’s improvisation proved to have been just the entrée, with main course in the form of a stop-by-stop exploration of the Town Hall organ. Beginning with just the Great 8-foot diapasons, singly then in combination, Michel Colin worked his way upwards through the Great flue then reed choruses, before doing the same with the Swell, then coupling both manuals plus the Solo Tubas – all with matching pedal. While experimenting with registrations he obtained amazing fullness of texture with just right hand and pedal while the left hand performed flawless hand-registration at speed around that huge console with no use of pistons and only the occasional helping hand from Robert Ampt. The sound of full organ with tubas coupled clearly made its mark as he remained on this at length, much to the delight of the small audience. Then followed an impromptu performance of Liszt’s Fantasia on BACH before every remaining solo register and quieter colour, including the Echo organ, received an airing. The 64-foot reed was heard across its entire compass several times, then the small group climbed inside for a tour through the instrument. Times have changed, it seems, regarding tours inside the Town Hall organ as the general public are now restricted to just the lowest level, but Michel Colin and Charles Henry were taken right through to the upper levels. Two hours passed so quickly, yet so much was seen, heard, experienced and discussed.

We are most fortunate that Michel Colin’s wide-ranging expertise will be brought to bear upon the outcome of what is arguably one of the most important organ restorations to be undertaken in Australia. The return of the restored Puget organ is now even more eagerly awaited than previously.

Andrew Grahame
Presenter of “Colours of the King” – the monthly broadcast of the
Organ Music Society of Sydney – on Sydney’s Fine Music Station
2MBS-FM (102.5) – 2nd Saturday each month at 5 pm.
31/1/07