Colour, irreverence and surprises in the Pipeworks

Unlike the North-South electricity interconnector, the Pipeworks Festival has piped itself across the island, making a welcome first appearance this year for concerts and workshops in Belfast and Armagh.

Following a concert in Dundalk the night before, the Hilliard Ensemble gave its second concert for Pipeworks in the resonant acoustic of Belfast's St Peter's Cathedral. Celebrating its 40th, and final, season, the ensemble's four singers offered ancient and modern: liturgical music from the 13th century to the present day. The vibrant colours of the building's interior were a rich counterpoint to the sonorities of counter-tenor, two tenors and baritone. The late 15th century Ah, Gentle Jesu by Sheryngham, full of textural contrasts and easily sprung rhythms, was an early highlight.

It was fascinating how that sense of colour was eventually overtaken by the building's acoustic. The arrangements of Armenian sharakans by the erstwhile priest Komitas, the sweet-sounding naivety of Arvo Pärt's Most Holy Mother of God, and even the dissonances and stabbing words of Alexander Raskatov's Praise, soon melded into a generalised faux-medieval sound world. None of which detracted from the relaxed and secure artistry of the singers.

Belfast City Organist Colm Carey offered different and refreshing sonorities on the cathedral's rebuilt and enlarged organ (by Kenneth Jones and Associates) with works by Petr Eben and John Bull (alternate verses of Bull's florid Salve Regina were sung by the Hilliard's baritone).

To the Ulster Hall

American organist Todd Wilson's recital on the Ulster Hall's Mulholland Grand Organ was topped and tailed by French music, which he plays with a real sense of ownership. A pity then only to hear the first movement of Widor's Symphony No 5. However, it was good to have a major work by Bach, his Passacaglia in C minor, BWV 582. The 1861 organ, which has been rebuilt several times, wouldn't be the purist's choice for Bach, but Wilson's relaxed approach to music-making (he is never afraid to linger over final chords) and his use of rubato were always of interest. Charles Ives's irreverent Variations on America, delivered from memory, like much else on the programme, was played with real panache. Three works by contemporary American composers were every bit as self-indulgent as the Ives, but their music lacked a strong identity and sense of direction.

Organ competition

Wilson returned to his role on the jury for the final of the Pipeworks International Organ Competition, also in the Ulster Hall. Three competitors had won through to play concertos with the Ulster Orchestra, conducted by Paul Brough. Lisa Hummel from Germany played Poulenc with strength and humour, although with a few balance and ensemble issues; Andrew Dewar from England played Kenneth Leighton with light-touch rhythmic propulsion and good balance; and Kazakhstan-born Ioanna Solomonidou played Guilmant’s wonderfully over-the-top First Symphony with real flair.

Had there been an audience prize, the Guilmant would have won, but the judges felt differently, placing it third and awarding two equal firsts. It was an evening of surprises, and the orchestra and conductor were significant contributors to all three performances.