At first sight the claims made in the accompanying booklet about the ''greatness'' of Southwark's organ might seem a little over the top. A minute into this disc and I'm right there supporting every word. This instrument makes a wonderful sound: clean, rich, beautifully blended and combining delicacy with strength, charm and majesty. It is a dream of an organ and Priory's recording is a masterpiece too—considering the Cathedral's location next to one of London's busiest railway stations. There is space and tranquillity here which bring a breath of fresh air to so grimy a location.
Claims made for Augustin Barie's Symphonie (by no less a figure than Louis Vierne) are equally powerfully supported by Peter Wright's compelling performance. This is a fine work, firmly in the mould of French organ symphonies, but with enough refinement and originality to give it real distinction. The delightful ''Intermezzo'' could sound like any one of Vierne's scherzos, yet somehow Barie's skating scales and quicksilver flutes inhabit a wholly different world. Given that Barie is known only for his Toccata from the Op. 7 Pieces (and here's a recording to match any of that piece), I find myself yet again pondering those strange quirks of fate which promote one particular work when the same composer has written so much else that is not its equal, but its better.
The 16 brief movements which make up Dupre's Le tombeau de Titelouze could have been tailor-made to show off the strengths of the Southwark organ; from the ethereal ''Iste confessor'' to the dazzling ''Placare Christe servulis'' I can't find one area where this organ (and, of course, the player) is anything other than ideal.'