REVIEWS & LIVE RECORDINGS

CD Recording: 'J.S. Bach - Organ Chorales from the Leipzig Manuscript, Vol. 1

Early Music Review, April 2006 (Andrew Benson-Wilson)

‘…impressive...a musical rhetorical style of playing that avoids all excesses...clear articulation and a good sense of phrasing.'

Organists' Review, May 2006

'This CD is from a performer who has certainly thought about the music at an intellectual level...Andrew Arthur's attention to detail and particularly his harmonic awareness are impressive. Tempos are carefully chosen, eschewing the temptation to race - a tendency in the performance of Baroque music that has continued far too long. [He] allows pieces such as the second setting of 'Komm Heiliger Geist' to flow naturally and spontaneously; the articulation does not advertise itself, though if you attend to that aspect, it is extremely skilled. The interspersed free organ works receive fine performances...'

The Gramophone, October 2006

'...clean and precise playing which follows the letter of the score with scholarly precision and does so with well judged and highly sensible tempi. Students of Bach's organ music may find a valuable source of reference here.'

2005

The Hanover Band - Bach Cantatas & Concerti, Arundel Festival

The Littlehampton Gazette, September 1, 2005

HANOVERIAN CONCERT TREAT

'Sunday's capacity audience obviously hoped for perfection from the highly anticipated two-hour all-Bach programme. And they were not let down...The performances were presented with typical exuberance, controlled in masterly fashion from the keyboards by director Andrew Arthur.'

Organ Recital, Carmel Mission Basilica, Carmel Bach Festival, 2005

The Herald, July 20, 2005

'As a grand finale to an exemplary and highly enjoyable recital, the "Toccata and Fugue in D minor", BWV 565 was delievered with a highly intelligent and impelling sense of purpose. The combination of intensity and exuberance and the strength, majesty and conviction that demonstrated the full organ's resources were all handled with consumate skill by Arthur.'

J.S. Bach - The Six Brandenburg Concerti, Director: Andrew Arthur

Sunset Cultural Center, Carmel Bach Festival, 2005

Peninsula Reviews, July 21, 2005

'How often do we have an opportunity to hear all six Brandenburg Concerti in one evening? Well, not too often, but on Thursday evening at the Carmel Bach Festival we had precisely such an opportunity, and it was a dazzling and moving experience.'

Brandenburg Concerto No. 5

'...the soloists, Andrew Arthur, harpsichord, Naomi Guy, violin and Kimberly Reighley, flute, delivered some brilliant playing. As always, when we hear this concerto, we marvel at the long and intense first movement keyboard cadenza. Andrew Arthur is the complete keyboard virtuoso and, not surprisingly, he whipped up the cadenza to a high point of excitement...his playing represents the cutting edge of our current understanding of Baroque keyboard performance practice...richly detailed and impressive indeed.' 

2004

CD Recording 'Organ Music for Passiontide'

The Gramophone

'THIS SCEPTR'D ISLE'

'...Equally cohesive is Andrew Arthur's Passiontide selection from All Saints, Margaret Street, London. The recording has no trouble in capturing the full glow of the newly restored 1910 Harrison organ. A largely French and German programme is divided by a centrally placed Howells's Psalm Prelude (Set 2, No. 1) in a performance of incandescent sensitivity. The longest work is Bach's Partita on Sei gegrüsset, for which Arthur produces a bevy of beautiful tonal Baroquetteries, proving once again that a Romantic English specification can adopt several foreign accents.'

Music in the Round - UK Bach Tour 2004

Principal Players of the Hanover Band

Shropshire Star

'The interpretation of Brandenburg Concerto No.5 was outstanding, etched into memory by the work of flautist Rachel Brown, and the mastery of harpsichordist Andrew Arthur.'

Shrewsbury Chronicle

'The Fifth Brandenburg, which closed the first half, provided a counterweight to the opening cantata…The players throughout showed enthusiasm tempered with brilliant ensemble technique, ably led from the harpsichord by Andrew Arthur. An evening to remember.'

The Guide, Portsmouth

'The Fifth Brandenburg Concerto contains one of the most stunning solo parts in keyboard literature, and Andrew Arthur proved a match for its demands.'

Organ Recital, Carmel Mission Basilica, Carmel Bach Festival, 2004

The Herald, July 21, 2004

'Organist Andrew Arthur who is the festival’s chief keyboard artist led off the day’s events with a very satisfying, well chosen and accessible all-Bach recital in the Carmel Mission.

Arthur was in his usual fine form as an assured master of the instrument. His proven ability to control the powerful modern Mission instrument is admirable and impressive. There was much virtuoso brilliance but also a finely attuned grasp of the inherent musical values of his medium.'

2003

Organ Recital, Carmel Mission Basilica, Carmel Bach Festival, 2003

The Herald, July 23, 2003

'Arthur is an absolute master of his keyboard, no matter what its size (as demonstrated in the evening concert), and his control of the challenging large console in the Mission was most impressive. In a high powered program which included two Fantasias, BWV 537 and 562, the Passacaglia & Fugue, BWV 582 and six chorale preludes. he diplayed his intuitive, soundly based grasp of his instrument, making this a very enjoyable musical experience. Playing for a large audience, Arthur began with the imposing Fantasia and Fugue in C minor, BWV 537. He chose a measured tone, which sounded very good in the open acoustics of the mission. The clarion passages of the fugue were very well brought out. Arthur included six chorale preludes based on Lutheran hymn tunes. Of this group, 'An Wasserflüssen Babylon' with its gently toned ornamented melodic line, was meditative and spiritual sounding. 'Schmücke dich' was another thoughtful and calm interpretation. It was very well voiced to maintain its reflective quality. Several others were bright and spirited, using the principal and reed stops. 'O Lamm Gottes' was delightfully rendered with a flutelike sweetness which made the instrument seem to sing. The Fantasia in C minor, BWV 562 had a trumpet-like opening and an imposing full organ tone, which continued with a processional quality, making for a commanding, impressive performance. The well known Passacaglia & Fugue, BWV 582 was the highpoint of the program in a monumental reading, which showed fine musical strength. There was a firm grasp of the intricate variation elements of the work. Arthur brought out brilliant tone with strong attacks and rhythms and tempi, which were always under control. It was an exemplary performance to conclude a fine concert.'

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(Broadband connection is recommended)

Soloists' Spotlight - Carmel Mission Basilica, Carmel Bach Festival

Handel - Concerto for Organ in G Minor, Op. 4, No. 1

Peninsula Reviews, 23rd July, 2003

'Who could ever believe that an organ concerto could be so much fun? Arthur’s precise rhythm and effortless mastery in the Allegro movement just grabbed you by the throat and never let go.'

The Herald, 23rd July, 2003

'Using the festival's own small "positif" organ, Arthur displayed exemplary technical fluidity and agility and a fine sense of humor in bringing out the bird calls in the happily chirping allegro.'

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CARMEL BACH FESTIVAL 2003

Handel - Organ Concerti, Corona del Mar Baroque Music Festival

The Orange County Register, June 24, 2003

'Andrew Arthur returning as soloist from his fondly remembered 2001 festival appearance brought his usual precision and astute musicality.'

J.S. Bach - Brandenburg Concerto No. 5

The Hanover Band, Brighton Early Music Festival

The Argus, May 26, 2003

'...fine work from harpsichordist Andrew Arthur...'

The Complete English Hymnal - Volume 7 (PRIORY RECORDS)

Sound & Vision, 2003

'I love this recording and congratulate Harry Bramma and his perfect and sympathetic organist [Andrew Arthur]...Memorable & treasurable'

Organists’ Review, February, 2003

'The organ playing on this recording is excellent throughout'

2002

The Mission Concert, Carmel Bach Festival

San Francisco Examiner, July 7, 2002

'An exquisite orchestral gem graced by Andrew Arthur’s nimble touch, Handel’s organ concerto"The Cuckoo and the Nightinglae", proved to be one of the highlights of the evening.'

2001

Organ Recital, Church in the Forest, Carmel Bach Festival

San Francisco Classical Voice, July 23, 2001

'Arthur planned his program in the same sort of order as concerts we know the composer [Bach] performed, namely, beginning and ending with a large praeludium and inserting chorale preludes and variations between the two. The bookends to the concert demonstrated Arthur's good understanding of style, articulation, and maturity. Into the opening Prelude and Fugue in C (BWV 545), between those pieces, he cleverly inserted the slow movement of the Fifth Trio Sonata. This creation of a three-movement work, though rarely done, is an example of the way Bach used to play his music. It served as an extremely effective and interesting opener and had a stamp of individuality.

Expert Handling of Instrument

The chorale partita (a set of variations on "O Gott, du frommer Gott") that followed showed Arthur's sensitivity to phrasing and demonstrated his ability to handle the instrument's unsteady wind pressure, a common feature of 18th century organs that many modern players find awkward.'

CLICK ON THE LINKS BELOW TO HEAR LIVE EXCERPTS FROM THIS RECITAL

(Broadband conection recommended)

Poulenc - Organ Concerto, Corona del Mar Baroque Music Festival

The Orange County Register, June 19, 2001

'At the center of the confident, colouful and engaging performance sat organist Andrew Arthur, a U.K native, who played with spirit, precision, and a keen ear for the dramatic moment. That, plus his deft pedal work and silky touch, gave a full and resonant voice to the solo passages.’

Los Angeles Times , June 19, 2001

‘A long line of first-rate organists have participated in the festival. The latest is the British musician Andrew Arthur, who took the soloist’s duties in the Poulenc [concerto]….Arthur brought impressive authority and resourceful virtuosity to the part……tightly and sincerely performed.’