Article published in Manchester Evening News 15 May 2015

Manchester-trained virtuoso organist, pianist and conductor Wayne Marshall is coming to the end of his first season as chief conductor of the West German Radio Orchestra.  

Wayne is also principal guest conductor of the Orchestra Sinfonica di Milano Giuseppe Verdi, and has recently guest conducted in France, Belgium, the Staatsoper in Berlin and on a tour of Russia with the Moscow Chamber Choir.

He has made conducting appearances all over the world – and keeps up a hectic schedule as a recital organist. 

In between, he finds time to be ‘organist-in-residence’ at the Bridgewater Hall, and he’s appearing there with Manchester Chamber Choir on May 23.

Matthew Hamilton, choral singing expert and musical director of Salford Choral Society, is conductor for the night, vocal soloists are Hollie-Anne Bangham and Stuart Orme, and cello soloist Stephanie Stamopoulos. 

It’s devoted to the music of two great French 20^th-century composers – Maurice Duruflé and Marcel Dupré.

There’s music for organ solo, and music for choir with organ, from each, and the major work is Duruflé’s Requiem.

Much of the music in it is based on Gregorian chant, and (as in Fauré’s Requiem) there is no Dies Irae but there are settings of Pie Jesu, Libera Me and In Paradisum. 

Wayne said: “It’s a fabulous piece, it’s very evocative, somewhat in the style of Debussy or Ravel. That wonderful French sound is so haunting.” 

He’s fond of the recording Duruflé made of the work, conducting it himself – it’s one of those once-heard-never-forgotten experiences. 

Wayne is also to play Duruflé’s organ piece, Prelude et Fugue sur le nom d’Alain – a tribute to his friend, Jéhan Alain, another French organist and composer who was killed in World War Two. 

The organ solo music by Marcel Dupré is Prélude et Fugue in A flat and Symphony no. 2, and to complete the programme there’s a comparative rarity – his Four Motets for choir and organ.

Wayne said: “Dupré was younger than Duruflé, though they knew each other, and he is more original in style and more demonstrative. His motets are less well known but fantastic music – they’re all great showpieces.” 

I heard Marcel Dupré perform – he was an improviser, something Wayne Marshall shares with him.

But this time, he’s sticking to the script.