Irish Times critics review a performance from organist Deirdre Benians at St Michael's, Dún Laoghaire

Deirdre Benians (organ) at St Michael's, Dún Laoghaire

Muffat - Toccata septima; Buxtehude - Passacaglia in D minor BuxWV161; Bach - Partita on Sei gegrüset, Jesu gütig BWV768; Mendelssohn - Sonata in A Op 65 No 3; Brahms - O Gott, du frommer Gott; Litaize - Prélude et danse fugée.

Deirdre Benians comes across as a fearless organist. In a programme of high-quality music, nothing seemed to deflect her. She always went straight for the musical point, even when her technique was under pressure; and she always made the point.

One of the most important strengths of this recital, given at St Michael's Dún Laoghaire on Sunday, was the playing's unforced rhythmic energy and always-natural shapeliness. An ability to time a phrase, to use silence, and to judge the pace of contrasting sections was a great asset in improvisatory compositions like Muffat's Toccata septima and Buxtehude's Passacaglia in D minor BuxWV161. And in Sei gegrüset, Jesu gütig BWV768, Deirdre Benians also set up impeccably the character of each variation and the succession of contrasts in this most-beautiful and transparent of Bach's organ partitas.

Technical pressure was sometimes evident in that partita and the Mendelssohn Sonata in A Op. 65 No. 3, especially in an occasional scramble for notes. But that was scarcely noticeable against the stronger impression made by such well-articulated and sustained musical design.

Awareness of design was especially valuable in Brahms's notoriously intricate choral prelude on O Gott, du frommer Gott. After such demanding, high-brow intimacy, the virtuosity and dash of Litaizse's Prélude et danse fugée seemed an effortless romp home.

Deirdre Benians moved to southern England three years ago and is still in her 20s. On the evidence of this recital and of last year's Dublin International Organ Competition, where she won third prize, she is among the best Irish organists of her generation.

Martin Adams