Stylistically, the work is jagged, dissonant (though with moments of uninhibited tonality) and often wildly percussive, which is a marked contrast to much of the other works on which Williamson was working at the time, such as the ever-popular choral works Procession of Psalms and Agnus Dei, the picturesque Travel Diaries for piano solo, and the grand Piano Concerto No. 3 (completed a year later, in 1962). Many listeners at the time were bewildered by the (allegedly) bizarre sound-world of the concerto, and there were mixed reviews from the press. The Daily Mail had the headline: "This won't do, Mr. Williamson!".[4] Williamson himself later recalled that "the concerto's first performance was received with enthusiastic abuse by the more conservative elements of the British organ world for being too venturesome, by Baroque enthusiasts for its use of the romantic organ, and by some critics for not being sufficiently venturesome!" However, subsequent performances have showed it to be one of Williamson's best works, and is held in high regard by many.[5]
Structure
The concerto is divided into three movements, as follows:
