This was a recital of well contrasted repertoire, designed to please, and much enjoyed by the appreciative audience in St. John's Church on Sunday evening.

Dr. Dennis Townhill was, for 30 years, organist and Master of the Choristers at St. Mary's Episcopal Cathedral in Edinburgh. Since retiring in 1991 he has been professionally active as a solo organist in Great Britain and abroad.

The first part of his programme on this, his very successful Bermuda debut, was devoted to works by British composers. He began with the Allegro Maestoso from Sonata No. 1 in G major by Elgar. Orchestral in texture, with widely contrasting tonal colour and dynamic range, this was an exciting and emphatic introduction to an evening of sensitive and stylistic playing.

Dr. Townhill's warm and relaxed personality communicated itself instantly to the audience in the helpful verbal programme notes with which he preceded each piece.

In 18th century England, unlike the rest of Europe, organs were without pedals, and the works of John Stanley and Handel which followed, demonstrated how much dexterity and imagination one needed to make playing on manuals alone interesting. Stanley's Voluntary No 5 in D with the well known Trumpet Tune and his delightful Voluntary No. 2 in A minor were followed by a charming performance of Handel's Concerto in F major.

It is difficult to gauge from the concertos any idea of Handel's own ability as an organist, whereas Bach's prowess must have been considerable. As organ music, Handel's concertos demonstrated a secular tendency, missing in Bach, who was always spiritually motivated. To such an extent is this apparent that the "St. Matthew Passion'' and "Mass In B Minor'' aside -- these are obviously dedicated to The Creator -- the great man has even in such a simple exercise as a book of clavier pieces for his son written "To The Glory of God''.

Undoubtedly Britain's island isolation did not serve her well musically, since she lagged considerably behind the great European schools in so many areas, the development of organ playing, at least until the 19th century, being but one.

The first part of the programme ended with "Evening Song'' by Bairstow with its romantic, though somewhat banal, thematic material and "Paean'' by Kenneth Leighton. Leighton has a wonderful keyboard sense and "Paean'', performed with great energy and panache by Dennis Townhill was one of the highlights of the evening.

After the intermission we heard Bach's Prelude and Fugue in D major. It is said that Bach's Preludes and Fugues sum up all the strivings of the Baroque Era towards "tonal architecture on a monumental scale.'' Difficult, but never parading empty virtuosity, these wonderful works require the very best of playing in every way -- formidable technique, musicianship, and an innate sense of style. In Dr. Townhill we were indeed fortunate to have this combination, with an excellent performance the result.

The remainder of the evening was given over to French influence, with contributions from Franck, Vierne and Gigout. Cesar Franck's lovely Cantabile in B major was a welcome relief from Louis Vierne's Arabesque and Pastorale which seemed to wander unsuccessfully through Debussy-misted Impressionism.

The Postlude from "Twenty Four Pieces in Free Style'' in the same Vierne group was fortunately more dynamic, and the programme ended with a rousing performance of "Grand Choeur Dialogue'' by Gigout. After that we heard an encore in the shape of the popular "Toccata'' by Widor.

This was certainly a most enjoyable evening of very fine music making. It is to be hoped that we see a return to Bermuda of this distinguished artist in the not too distant future.

MARJORIE PETTIT