Queensland Performing Arts Centre was privileged to host former Westminster Abbey organist, James O’Donnell for two performances. I was at the Concert Hall for the wonderful performance on Saturday night (26 July).
Scottish born, James O’Donnell was only 21 when appointed Assistant Master of Music at Westminster Cathedral. Acclaimed as the ‘Royal Organist’, O’Donnell played at the wedding of Prince William to Catherine Middleton and the funeral of the late Queen Elizabeth.
Research for this review was both informative and fascinating. Pipe organs, I learned, are ancient instruments predating pianos. They were the most complex, human made machine until the advent of the steam engine. Like an iceberg- the majority of its complex structure is unseen.
Visually, a pipe organ is a majestic, magnificent instrument. A costly, unmissable feature in cathedrals and concert halls. Sadly, it’s an under-utilised asset.
The beautiful Klaus grand organ installed in the Concert Hall at QPAC was built in Germany in 1986. It boasts 6500 pipes. Despite its imposing presence and colossal size, I’ve only accessed glimpses of its instrumental potential. I seized this chance to hear it played by a master.
Under the baton of guest conductor, Pablo Gonzalez, Queensland Symphony Orchestra members dressed for the occasion in coattails.
I’d anticipated displays of passionate Spanish conducting. This maestro however, was calm but very clearly in command of the orchestra. He was obviously pleased with the orchestral performance. Some seated instrumentalists were singled out to stand and take a bow.
Unsurprisingly, the appearance of O’Donnell, emerging to take his place at the organ was met with vigorous applause.
The evening commenced with Symphonie concertante for Organ and Orchestra, Op. 81. Composed by Belgian, Joseph Jongen, the work was commissioned in 1926, oddly, not for a cathedral but for a department store. At that time, the Wanamaker department store in Philadelphia boasted the world’s largest pipe organ. The store owners were eager to show it off and attract extra custom.
The pipe organ, I’ve discovered, is actually capable of an orchestral performance all on its own. Jongen’s composition clearly embraces the organ’s unique ability to do just that. The work positions the organ in a role of dominance as opposed to, in parallel with the orchestra.
During O’Donnell’s partnership with QSO, there were frequent, uncanny moments when I couldn’t differentiate between organ and orchestra. The composition was an ideal selection. From its staccato start, to its resounding conclusion, the performance emanated grandeur.
The organist was absent during the fine orchestral performance of Harry Sdraulig’s Colourscapes. Sdraulig is an Australian composer.
After interval, the evening concluded with the magnificent Symphony No. 3 in C minor, Op. 78 (Organ Symphony) by Camille Saint-Saens.
The piece is familiar to many as music from the movie, Babe. An effective and memorable choice for both the film and the concert. it’s a regal, monumental composition. Poetic nuance and thundering majesty contrast and combine with striking effect.
The entire concert was a flawless success. As my eyes shifted between the orchestra on stage and the organist above, I felt proud of our state orchestra and privileged to have seen and heard O’Donnell play. It’s an evening I will never forget.
James O’Donnell will head to Sydney to perform at the famous and iconic Sydney Opera House on Tuesday 29 July 2025.
The Royal Organist
Concert Hall – QPAC, Cultural Precinct, South Bank (Brisbane)
Performance: Saturday 26 July 2026
Image: James O’Donnell and the Queensland Symphony Orchestra in the Concert Hall – photo by Sam Muller
Review: Michele-Rose Boylan