This recital series was introduced by the Rector as one by world-class recitalists on a world-class instrument. It surely was.

Liszt’s Fantasy and Fugue on the secular chorale Ad nos ad salutarem undam opened the program. It is often considered one of the most impressive secular pieces in the organ repertoire, and Nolan’s virtuosic playing was evident through the use of a large screen monitor focusing on the manuals, with an insert showing pedalwork.

In this performance, not only did Joseph demonstrate a commanding mastery of the instrument, but also an intimate knowledge of the building’s acoustic, allowing for an articulation that was clearly heard, and for the performance to breathe in sympathy with the building. The registration was clear, varied, and despite the heavy nature of Liszt’s writing, not overwhelming to the listener. PLayed on a new instrument built in the United States, many of the sounds are not regularly heard by Australian recital goers – and the sensitive use of the strings was a delight to hear.

Joseph Nolan. Photo supplied

Alkan’s Impromptu sur le Choral de Luther was a new work not only to me and, I suspect, to many of those in attendance. For...