St Giles’ cathedral, built in honour of Giles the Hermit, is certainly grand and the atmosphere is an appropriate one for an organ concert. The interior of the building glows in the soft lighting, columns disappearing up into a dark and lofty ceiling. A faintly musty smell pervades the space and flags, moth-eaten and faded, hang motionless from the walls, completing the imposing yet oddly intimate ambiance.
Giampaolo di Rosa is certainly an impressive organist. The vast and powerful instrument is well mastered and the first piece, J.S.Bach’s Prelude and Fugue in E flat major was an accomplished start to the concert. Following the Bach was Guilmant’s VI’s Sonata. It is testament to Di Rosa’s skill that, after five minutes of the Guilmant, I found myself able to lay down my pen and notepad, sit back and simply enjoy the music.
Choosing to place the Messiaen Méditations sur le Mystère de la Sainte Trinité VIII – IX at the end of the concert was inspired. With memories of the Bach still ringing in our ears the Messiaen proved a fascinating counterweight. Skittish motifs paired with grand, almost ponderous chord movements swept around the cathedral and one felt, perhaps, despite oneself (Messiaen is certainly not easy listening) moved to consider the subject of the piece, the trinity. In a cathedral dripping with symbolism, this was a rather humbling experience.
