Review: "THOMAS HEYWOOD - ORGAN RECITAL", Wesley Uniting Church, Forrest ACT, March 13 2005. Reviewed by TONY MAGEE

Well let’s just cut to the chase and start by saying that this guy is a very good organist and also a brilliant showman and entertainer.

“This guy” that I refer to is Thomas Heywood., Australian concert organist, who presented a highly enjoyable and varied program of music at the Wesley Uniting Church on the afternoon of Sunday 13th March.

Heywood’s bubbling and effervescent personality oozed forth from the moment he burst into the room and swept to the organ, where his wife Simone awaited to settle him and then operate at least as much equipment as he did – activating some of the organ stops, changing camera angles as required for the giant screen video, turning pages and selling CD’s before, at interval and after the show. Yes, this act is very much a two person affair and they travel it around the country and the world with great success, playing to packed houses accompanied by significant CD and music sales. It’s brilliantly thought out, thoroughly well prepared and perfectly executed. All in all, one must applaud the business acumen at least as much as the music making itself.

Heywood’s own transcription of Rossini’s overture to his opera The Thieving Magpie commenced the program (after a sparkling rendition of the National Anthem) and was delightful and convincing. It is a hugely popular piece and suitable for use in a miriad of situations besides the opera, including a lengthy underscore in Kubrick’s nightmarish film A Clockwork Orange and also forming the basis for the plot of a an episode in Herge’s Tintin series - The Castafiore Emerald.

Two pieces by Dubois followed (written for organ) including the fast paced Toccata, which is not unlike the Widor. Both pieces were well executed with dazzling finger work and accuracy. Lemare’s Rondo Capriccio, Canzonetta and Toccata di Concerto followed. His works are greatly influenced by the orchestral repertoire and this was apparent of course. The Canzonetta particularly showcasd Heywood’s ability to present softer passages with delicacy and style, whilst the Toccata displayed his dazzling footwork in a fabulous performance of the work.

Schubert’s Symphony No. 8 – “Unfinished” was the major work for the afternoon – again also popping up to great effect in film, this time in Peter Seller’s penultimate offering, Being There – the “Unfinished” aspect being the crucial touch. See the film to find out why. Here, in Stuart Archer’s transcription, the piece was handled with great mastery by Heywood as he explored the orchestral colourings and developed the passages, phrases, texture and drama of the piece to majestic and powerful levels. Very satisfying and also fascinating.

Heywood’s own transcription of Beethoven’s Egmont Overture closed the program. This I found just a tad rushed and dashed off, only because I am used to Klemperer’s sometimes ponderous tempos I suppose. However, it was none the less very satisfying. 

Finally, I would like to mention that Heywood has transcribed all the Beethoven Symphonies for concert organ. This is certainly a monumental feat in itself, separate to the playing of them which I have yet to hear, but relish the opportunity to do so. Franz Liszt did same for the piano (both as solo piano and duo piano transcriptions) with, in my opinion, mixed success. As I previously mentioned, the organ is the supreme instrument on which to re-create orchestral colourations and power. Thomas Heywood understands this thoroughly.

First published in Muse Magazine (Canberra), April 2005