The mighty Willis organ stands tall at every London Prom, its 9,999 pipes soaring 21 metres high like a colossus. But this Sunday morning, it takes centre stage in a recital that promises to shake the very foundations of the Royal Albert Hall. French organist Olivier Latry is at the helm, conjuring up a programme that's largely rooted in Bach's classical repertoire – think towering fugues and majestic chorales.
Yet, as we sit back and bask in the grandeur of it all, remember that this is just the tip of the iceberg. For beneath the familiar surface lies a world of experimentation and innovation waiting to be unleashed. The likes of Anna Lapwood are spearheading this charge, joined by a new wave of adventurous musicians who are reimagining what's possible with the pipe organ.
With roots stretching back millennia to ancient Greece, the pipe organ is an instrument steeped in history – but also capable of producing sounds that are positively otherworldly. Modern organs like the one at the Royal Albert Hall can produce sonic pyrotechnics on a massive scale, yet also coax out delicate nuances and intricate textures that defy explanation.
Radiohead's Jonny Greenwood is a key figure in this revolution, pushing the boundaries with compositions like 'X Years of Reverb', an eight-hour extravaganza designed to reanimate every note, voice and sound ever heard within a performance space. James McVinnie and Eliza McCarthy will bring it to life at Manchester Cathedral in January 2027 – what a prospect!
Across the globe, innovators like American musician Kali Malone are exploring ancient tunings and conceptions of musical time, while Sweden's Ellen Arkbro and Anna von Hausswolff are forging their own unique languages, ranging from avant-pop to experimentalism. And closer to home, Scottish composer Claire M Singer is crafting 'organ-scapes' with slow drones and radiant horizons that evoke the very essence of Scotland's landscapes and history.