Lucid Culture


Concert Review: Ansgar Wallenhorst at the Organ at St. Thomas Church, NYC 10/28/07

Ansgar Wallenhorst is a German organist and a devotee of improvisation, tonight proving himself in the same league as Olivier Latry or Pierre Cochereau. He gave the beautiful old Skinner organ here a workout it probably hasn’t had in years, using seemingly every pipe and every registration, no matter how obscure. Perhaps the glockenspiel felt neglected, but otherwise the venerable old instrument proved it can still whip up a storm for the ears. In almost 45 minutes, Wallenhorst played just two pieces, the first being Franz Liszt’s Fantasy and Fugue on the chorale Ad Nos, Ad Salutarem Undam. Liszt is famous for being the Pedro Martinez of the organ, i.e. having big hands and long fingers which helped facilitate the long jumps and massive chords which are his trademark. But melody is all too frequently an afterthought in his music: flights of dexterity and dazzling musicianship very often take precedence over content. Not so with this piece. It’s a flood warning, echoing back to Buxtehude and his contemporaries with its warm, major-key passages playing against eerie minor key melodies, macabre chromatics and tritones. By the time Wallenhorst wrapped it up with a scorching, fortissimo conclusion, he’d aired out the trumpet in the church’s ceiling as well as every rank in the flutes, reeds and the lowest, rumbling, subterranean pedal pipes. The intensity of the performance matched the knotty demands of the piece itself.

Then Wallenhorst played an improvisation in tribute to the great French composer Jean Langlais, using the letters in his name as a guide to chord choices. The main organ here is known for its beautifully trebly French colors as well as its darkly majestic sound. There were echoes of Langlais’ gleaming, dramatic, center-stage melodicism in Wallenhorst’s extemporizations, but the piece also had a uniquely individual style that saw the organist once again utilizing every stop available. Some of the passages he played were pianissimo to the point of being almost inaudible; other times, he’d fire a volley or two down from the trumpets and follow with that call with a response from the lower registers. Echoing the Liszt, he made liberal use of tritones and let them ring out in a devil’s choir. For once, there was a good crowd in attendance, rapt all the way through the piece’s happily conclusive, vastly satisfying, full-blast finale. One last time: if you are a classical music fan, miss this concert series at your peril.

November 1, 2007 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , | 3 Comments

In Memoriam – Porter Wagoner

[editor’s note – we’re still here, believe it or not, despite a relatively protracted absence this past week. Another of us, unfortunately, is not]

Country Music Hall of Famer Porter Wagoner, who battled drugs, alcohol and depression throughout his spectacularly successful sixty-plus year career as a country crooner, tv personality and Grand Old Opry emcee died of lung cancer this past October 28. He was 80.

Porter Wagoner – that was his real name – grew up in the Ozark Mountains of Missouri during the Depression. He first became involved with country radio in the late 1940s, playing guitar and singing commercials. He signed his first recording contract in 1953, which began a succession of hits which lasted through the 1970s. Wagoner was best known for his series of duets with Dolly Parton, culminating with Please Don’t Stop Loving Me in 1974. Rumors of an affair with Parton were ubiquitous – Wagoner’s second marriage ended abruptly after Parton began appearing on his popular syndicated tv show the Porter Wagoner Hour – and Wagoner did nothing to deny them. The relationship between Parton and Wagoner soured in the late 1970s as the two went to court over business deals.

Wagoner was the original rhinestone cowboy. He owned dozens of custom-made rhinestone coats costing thousands of dollars each. His television show, at its peak in the 1960s, reached an audience of millions. However, his career was marked with several stretches of inactivity as he fought with depression and problems with alcohol and drugs. While he was more accomplished a songwriter than conventional wisdom dictates, his greatest achievements remain his role as an interpreter of other peoples’ material, and as a tirelessly charismatic goodwill ambassador for country music.

November 1, 2007 Posted by | Uncategorized | Leave a comment