An interesting and challenging programme, which showcased the quality and range of a magnificent instrument, was presented at the organ recital at Wesley Methodist Church on Sunday by visiting organist John Comber.

The selection of organ pieces was largely a personal one and an interesting musical voyage through several centuries in tribute to organists and other musicians, prominent and obscure, who made an impact on Mr. Comber's own musical career.

The theme of the programme, Mr. Comber explained, was praising God through music, and he took time to introduce each selection, drawing attention to particular musical themes or tonalities, adding a note of humour in a number of his introductions.

The first half of the concert comprised big, bold dramatic pieces that demonstrated the tremendous power of the organ and the admirable technical accomplishment of the organist.

The concert opened with 'Pastoral and Fugue in G' by 19th century composer Joseph Rheinberger, followed by 'Preludeum and Fugue 'Christ lag in Tondesbaden'' by 20th century composer Hermann Schroeder, both pieces seeming to express the awesome and terrible majesty of the creator God, while the Bach 'Prelude and Fugue in B Minor' from the 18th century was lighter in tone, offering a musical 'vision of heaven'.

Felix Mendelssohn's 'Hear My Prayer', performed by the Ensemble Singers, provided a bridge to the lighter, sweeter 'miniatures' of Percy Whitlock. Part of Medelssohn's second symphony, the choral finale was a beautifully melodic piece, in marked contrast to the tone and tempo of the earlier selections. The light sweet notes sung delightfully by soprano Alana McaPhee, were supported by the rich harmony of the ensemble, leaving the audience wanting more.

The second half of the concert formed a tribute to Percy Whitlock, and comprised a selection of seven pieces by this lesser known 20th century composer. The series of short pieces, several inspired by the Psalms, expressed a wide range of emotions. They also explored the range of the organ stops, "Dolcezza" emphasising the dulcet tones of the choir stops, while "Paean" and "Fanfare" showed off the tubas. The concert ended with Sigfrid Karg-Elert's 'Fugue 'Credo in Vitam Venturi Saeculi', based on a Gregorian theme, which ended with a crescendo of bold, sustained chords.

Altogether this was an interesting and varied exploration of the range of music created to praise the God of Heaven and Earth.