“Malcolm Archer and David Bednall show themselves highly imaginative, sometimes fearless, improvisers. In general, Malcolm Archer’s improvisations tend to be the more ’rounded’ and conventional, sounding like notated compositions; while David Bednall’s tend to be more experimental. That is not to suggest that one musician is better than the other, but listeners might possibly find themselves preferring the improvisations of one or the other, depending on their own tastes. On a disc like this, having improvisations by two men of differing musical personalities lends variety to the programme and thus makes the listening experience all the more enjoyable. Both organists have the ability to create convincing musical structures and to conjure-up magical sound-worlds, drawing upon the full spectrum of colours that the organ of Blackburn Cathedral has to offer.”
Church Music Quarterly, March 2006
“You could say this disc serves two purposes. Firstly, there’s the obvious appeal of hearing music moulded into shape on the spur of the moment. And indeed each track is a delight: most are based on Gregorian chant including Victimae Paschali lasting nearly 14 minutes!) or other well-known tunes. Equally, however, the disc carries a more serious message. David Bednall”s comment in the cover- notes that improvisation in the UK is all too often “regarded as mere ‘filling-in’, a form of liturgical wallpaper whose function is simply to cover the sound of moving feet” is not unfair. “Sounds Spontaneous” then, sets out to prove that things don’t have to be like that. And without suggesting that organists of the said crime are going to transform their playing overnight into something of the standard here, the disc may well prompt many to review the role of improvisation to enhance worship in the service as a whole.”
Cathedral Music
“Malcolm Archer, newly of St. Paul’s Cathedral, and David Bednall, associated with Wells Cathedral, here combine their expertise, and exercise it on the extravagant Blackburn Walker. The artists are obviously familiar with it [the Blackburn organ]; if in fact these are what they appear to be – that is, true improvisations – then this is indeed a “how-to” on how to improvise. Each “composition” follows the guideline they set for themselves which is “… Liturgical improvisation at its best should reflect and enhance the mood and meaning of the occasion and season.” “Innovative” is far too limited a word for these performances. One after the other, they tantalize and fulfil, producing the unexpected and the foregone, leading to a true sense of both occasion and season. There are preludes, postludes and interludes, all created at the moment with the excitement that attends creation. And never an insecure moment intrudes. From less than two minutes for All Saints to more than 13 minutes of improvisation for Easter, this entire recording is a bounteous treasure for anyone who values this art, this skill, this… creation? Heartily recommended.”
The American Organist
