Naji Hakim’s Glenalmond Suite comes larder with referential significance. The theme of the group of four pieces, roughly on the scale of Boëllmann’s Suite Gothique or a highly condensed Widor symphony, is based on the clock chimes of Glenalmond College in Perthshire. Commisioned for Hakim’s 2007 inauguration of the College Chapel’s new II/26 Harrison & Harrison tracker Organ, the music has a European dedication too Pastor Hanne Margrethe Tougaard of the south Danish town of Sakshøbing, hence the movement titles: Strømmende (Streaming), Favnende (Embracing), Smilende (Streaming), and Jublende (Rejoicing). Hakim explains that ‘the music prolongs the Christian symbolism of bells to comment on biblical quotations referring to the ‘Good Shepherd’. He deploys his typically fecund imagination in cantabile, scherzando, and leggiero iterations of the bell theme, culminating in one of his trademark tipsy fairground-rude toccatas which threaten to jump the rais at any moment. Recital organists might amuse their audiences by swapping Boëllmann for Hakim in future programmes.
The inaugural recital at Glenalmond was recorded live for Signum by Delphian’s Paul Baxter and is commendably lowon noises off. Hakim treats the not noticeably French organ to a tourof his native repertoire, with popular works by Langlais (Te Deum), de Grigny (Rećit de tierce en taille), Franck (Choral no.3 in A minor)and Boëllmann (Priére à Notre-Dame). As well as the new Glenamond Suite, Hakim performs his fascinatingly varied cycle of 12 Sakskøbing, based on Danish hymn tunes, and a challenging improvisation on Amazing Grace, New Britain and Auld Lang Syne. For all that one is used to Hakim’s coruscating brilliance, the sheer technical skill and white-hot intensity of the Hakim imagination in blending these dirge-like themesinto music left this Scotsman duly open mouthed.
