Brian Charette Takes Organ Jazz to Edgy, Entertaining New Places
As Brian Charette tells it, his first solo organ record was a hit with his colleagues at baseball stadiums. Which makes sense. If an organist is a serious team player, he or she (thinking of Eddie Layton and Jane Jarvis here) can influence the outcome of a game. But first they have to engage a screaming mob, and be heard over them (unless it’s the Mets and there’s nobody there). Charette can’t resist an opportunity to entertain, although his sense of humor usually comes out in jousting with bandmates and making deadpan insider jokes rather than outright buffoonery. His follow-up solo album, Beyond Borderline – streaming at youtube – doesn’t seem to have any baseball subtext: it’s an endless supply of WTF moments interspersed among just about every possible style that might fit what Charette obviously sees as the very broad category of jazz organ. His next gig is not as a bandleader, but a relatively rare one as a sideman with hard-hitting saxophonist Mike DiRubbo‘s quartet at 10:30 PM this Friday and Saturday night, Jan 3 and 4 at Smalls.
The new album is a mix of solo versions of originals along with a couple of organ arrangements of Ellington tunes. Charette opens it with Yellow Car, a briskly strolling Jimmy Smith-style blues spiced with sly jabs and blips. He really cuts loose with his signature unpredictability in Wish List, a punchy, rhythmically shifting mashup of creepy Messiaen and jaunty Booker T. Jones (don’t laugh, it actually works). The first of the Ellington tunes, Chelsea Bridge gets reinvented with a triumphantly crescendoing resonance. The other one, Prelude to a Kiss validates Charette’s decision to go for grandeur.
The rest of the originals begins with Girls, a straight-up, catchy swing tune with a disquietingly atmospheric interlude midway through. The dark blues and latin influences really come to the forefront in Good Tipper – the title track of his 2014 album – Charette walking and strutting the bass with his lefthand beneath the mighty chords and spacious riffs of his right.
His solo take of one of his creepiest and best numbers, Hungarian Bolero, is evenmore minimalistically menacing as he fades the volume back and forth: it’s a little early in the year to be talking about best songs of the year, but this is one of them.
Silicone Doll is an organ arrangement of Satin Doll: Charette speeds it up a little. By the time you hit 5th of Rye, you may find yourself wondering, who needs bass and drums? His love of dub reggae and penchant for wry quotes come through in Aligned Arpeggio. Herman Enest III, a shout-out to Dr. John’s longtime drummer better known as Roscoe, has a recurring riff nicked from Joni Mitchell (or did she steal it from the Night Tripper?)
Charette winds up the album with Public Transportation, a bubbly, lickety-split tune that obviously refers to some city other than New York, where the subway and buses actually run. As organ jazz records go, this is vastly more purposeful, original and less outright funky than what’s usually found in that demimonde.
Thrills and Chills with Organist Jeremy Filsell at St. Thomas Church
“What an extraordinary time to arrive here,” organist and new St. Thomas Church music director Jeremy Filsell reflected during his extensive opening remarks Friday night to kick off this year’s Grand Organ Series there. Considering that he gets to spend more time than anyone else at the church’s new Miller-Scott organ, he’s in an enviable position. This mighty instrument is even louder and more colorful than the old hybrid Aeolian-Skinner model it replaced – and that machine was a beast.
Filsell also spoke of standing on the shoulders of giants. Gerre Hancock, who served as music director here for over thirty years, was one of them, one of the world’s great organ improvisers and a first-class composer as well. Filsell played one of his works, Trumpet Flourishes for Christmas, airing out the fiery trumpet stops located in the ceiling with a playfully triumphant dialogue bookending a swirling joie de vivre over long, resonant tones. Having had the good fortune to hear Dr. Hancock play the piece during the holiday season, over twenty years ago, it’s safe to say he would have approved.
The other illustrious prececessor Filsell was referring to, of course, was John Scott, who succeeded Hancock and tragically did not live to play the organ he had so much of a hand in designing. Scott reveled in utilizing every color and every texture he could find, and Filsell seems cut from the same cloth. He opened the show with a solo transcription of Julian Wachner’s showy, chuffing Angelus, originally conceived as a concerto for organ and orchestra. It gave the organist a prime opportunity to show off the various sections of the new instrument, without spending much time in any one place, all the way through to a coy wisp of an ending that had the crowd chuckling.
Jean-Jacques Grunenwald’s Diptyque Liturgique, from 1956, provided Filsell with more terse, purposeful passages utilizing the organ’s bright, French colors, both with calm Widor-esque atmospherics and more opaque, Alain-like passages, starriness contrasting with a long, portentous crescendo.
Calvin Hampton’s In Praise of Humanity was more playful yet unsettled, Filsell nimbly negotiating its tricky 5/8 metrics, echo phrasing and nymphlike clusters, primarily utilizing the organ’s many flute stops. The piece de resistance was Marcel Dupre’s embittered, vastly symphonic triptych, Evocation, Op. 37. Written in 1941, after the composer had whisked his organist father away from the imperiled Rouen cathedral, only to see him die enroute, the piece is riddled with vindictive anti-Nazi imagery. Filsell played up the variations on a cannon-fire motif along with the Shostakovian sarcasm of a pompous march, a stuffy waltz and a phony fanfare or two.
An exquisitely tender solo on what Dupre would have called the cromorne stop was arguably the highlight of the concert. Fisell also went deeply into the suite’s minute details and expansive dynamic shifts, from distant, airy unease, to grim, resounding chords and defiantly conspiratorial flurries, all the way through to a masterfully spaced yet ineluctably savage ending. What a thrill, and what a relevant piece for our time.
The next concert in the Grand Organ Concert series here is on October 19 at 3 PM featuring Christophe Mantoux playing a sizzling all-French program of works by Messiaen, Durufle, Tournemire, Vierne and Franck. Cover is $20.
Loreto Aramendi Delivers Chills and Thrills at Central Synagogue
Musicians may be nocturnal creatures, but church organists have to be on their game at pertty much every hour of the day..So it was no surprkse when Spanish organist Loreto Aramendi played one of the year’s most exhilarating programs in the middle of the day, a couple of weeks ago on the
Musicians may be nocturnal creatures, but church organists have to be on their game at pertty much every hour of the day..So it was no surprkse when Spanish organist Loreto Aramendi played one of the year’s most exhilarating programs in the middle of the day, a couple of weeks ago on the gorgeously colorful organ at Central Synagogue
The highlight of her eclectically thrillling performance was the great organ composer Louis Vierne’s transcription of Rachmaninoff’s iconic C# Minor Prelude. It was a revelation: anchoring its grim counterpoint with a single, blackly portentous pedal note, Aramendi really took her time with it, a dirge to end all dirges.
Louis Robillard’s transcription of Saint-Saens’ Halloween classic Danse Macabre was another deliciously phantasmagoriacal treat. Aramendi reveled in a bief volley of sepulchral gliasandos with as much relish as the false ending and the finale where the ghost goes on its merry way.
She opened the program with a Buxtehude toccata that was more of a song without words, reminding what a paradigm-shifter Bach’s biggest influence was. Another Robillard transcription, Liszt’s Funerailles, aptly foreshadowed the Rachmaninoff, A final Robillard arrangement, the Prelude and Scicilienne from Faure’s Peleas et Melisande matched High Romantic grandeur to lilting grace.
Ligeti’s tensely circling Coulee, from his Etudes for Organ, was the most monochromatically bleak, and in that sensse, darkest piece on the bill. Aramendi closed with a blaze of fury, giving Charles Tournemire’s cult favorite Victiae Paschali chorale every bit of torrential power she could muster. A small but raptly attentive midday crowd gave her a robust standing ovation.
This concert was the final episode of this spring’s series of monthly Prism Organ Concerts in the magnificent Lexington Avenue space just north of 54th Street, programmed by organist Gail Archer, who’s put out an unusually adventurous series of albums over the past several years, ranging from obscure American repertoire to iconic Messiaen works. Watch this space for news about next season.
The East West Trio Deliver a Stunning, Haunting, Armenian-Inspired Performance at St. Patrick’s Cathedral
Witnessing organist Marina Omelchenko slowly work her way up through the eerie chromatics of an ancient Armenian lament last night at St. Patrick’s Cathedral was nothing short of sublime. It became even more so when duduk player Oganes Kazarian, situated at the opposite end of the church, joined the somber majesty with his meticulously modulated, mournful phrasing. Throughout the concert, whether playing against the organ, with soprano Tehmine Zaryan, or with both, he employed such a wide-angle vibrato that no matter how horizontal or enveloping the melody got at times, his inflections were always adding an otherworldly sparkle of overtones.
What’s the likelihood of seeing a duduk – the rustic, plaintively woody-toned Armenian oboe – paired with a church organ? Just the premise of the concert was impossible to resist, and for the most part the three individualists of the East West Trio delivered on the promise of such a deliciously textured sound. Kazarian kept his modes muted and reserved throughout a rapt duet with Zaryan toward the end of the performance. When paired with Omelchenko, especially in her arrangements of a handful of Armenian hymns and traditional numbers, he was much more forceful, a brand-new stop in an almighty beast, the church’s Kilgen organ.
Zaryan hit a spine-tingling crescendo at the end of a Schubert aria early on; a concluding Andrew Lloyd Webber ditty was impossible to redeem. But getting there was an often breathtaking rollercoaster ride. Omelchenko began with cinematic and then cantabile Bach and then worked her way to triumph with all the stops out, through the stately power of a Tcherepnin overture. Yet despite all the fireworks, the quieter Armenian melodies were the most hauntingly resonant.
St. Patrick’s has not only a very eclectic series of free organ concerts, typically at 3:15 PM on Sundays, but also an intriguing series of classical performances that often involve the organ in some way. The next one is this Sunday the 27th at the usual time with organist Heitor Caballero playing a diverse program of works by Bruhns, Guilmant, Sebastian Duron and Flor Peeters.
Organist Gail Archer Reinvents a Horror Movie Classic and Unearths Rare Russian Gems
What’s more Halloweenish in 2018 than Russia? Not to invalidate anyone’s suffering, but compared to what Russians have had to deal with under Putin, this country’s had it relatively easy lately. And Russia doesn’t have this November 6 to look forward to.
Musically speaking, what could be more appropriate for this Wednesday’s holiday than a Russian organ music record? It doesn’t hurt that it’s played by one of this era’s most adventurous interpreters of the classical organ repertoire, Gail Archer. Her latest album A Russian Journey is streaming at Spotify.
While there isn’t as vast a tradition of music for the organ in Russia as there is further west, there was a boomlet of composers writing for the instrument beginning in the late 1800s. That’s the formative period Archer starts with, unearthing some majestically tuneful, frequently mysterious material that too seldom gets programmed beyond its home turf.
She gives Cesar Cui’s hypnotic, Asian-tinged Prelude in G Minor a relentless, artfully crescendoing interpretation. His Prelude in A Flat Major comes as a shocking contrast, a starry, steady, mysteriously rising piece with a sobering balance between lows and exuberantly voiced highs, maxing out the organ’s high reed stops. It’s a roller rink at Dr. Zhivago’s grave.
Likewise, Sergei Ljapunow’s enigmatically neoromantic Prelude Pastoral has both steadfastness and swirl, through shadowy counterpoint between the pedals and midrange, bittersweet glitter, and confidently calm exchanges of catchy, allusively carnivalesque riffage between registers. Clearly, this is Baba Yaga country he’s exploring here. Glazunov’s Prelude and Fugue in D Minor is steady, stately and somber, Archer maxing out the silken sheen of the upper registers again as she builds intensity through the hypnotic waltz of the fugue.
Contemporary composer Sergej Slominski’s Toccata has a brightly celebratory French flavor: the work of Eugene Gigout comes to mind. Archer strolls enigmatically through the opening bars of Alexander Schawersaschwili’s Prelude and Fugue, a dynamic piece with acidic sheets of sound, calmly marionettish phrasing and cinematically climbing variations, She winds up the album with a vigorous, epic, yet often remarkably subtle take of Zsigmond Szathmary’s organ arrangement of Moussorgsky’s classic Night on Bald Mountain, which in terms of sheer mystery outdoes most of the orchestral versions used in horror films for the better part of a century. Rabid members of the organ music underground won’t be the only people who will relish making some new discoveries here.
Organist Christopher Houlihan Pulls Out All the Stops at an Iconic Venue
The titanic 1954 Schantz organ at the Cathedral Basilica of the Sacred Heart in Newark is one of the most coveted instruments in the world. To witness an organist capable of maximizing its vast capabilities is one of the most thrilling concert experiences in this hemisphere. Yesterday evening, to open the fiftieth anniversary season of this nation’s longest-running cathedral concert series, Christopher Houlihan delivered an epic, literally breathtaking performance of reinvented standard repertoire and unexpected treats.
With over ten thousand pipes spread from one end of the cathedral to the other, there are few instruments that can deliver surround-sound stereo at such gale force. There were several instances where Houlihan literally pulled out all the stops, which was nothing short of exhilatating, but the ride getting there was just as entertaining, and revelatory.
He bookended the show with Bach – an emphatic, triumphant encore, as if to say with a grin, “I own this space now” – and a reinvention of the Passacaglia and Fugue in C minor, BWV 582. Since organs of the composers’s era were considerably smaller, there’s no question he would have at the very least approved of how imaginatively Houlihan varied his textures, from the otherworldly rustic melancholy of the introduction, through ghostly flutes, stygian pedalwork and mighty blasts of brass from the trompette en chamade located like a bullseye, front and center.
“You have no idea of how much fun I’ve had practicing for this concert,” Houlihan confided to the crowd. “To be alone in this cathedral with just the organ is…” he was at a loss for words, a kid in a candy store. So he let the music do the talking, beginning with a similarly colorful, dynamic tour of Schumann’s Four Sketches for pedal-piano, opus 58. Typically played on the organ rather than the quaint hybrid instrument they were written for, Houlihan elevated them with appropriate gravitas and majesty through swirls and swells, lushness contrasting with a hushed, spare quality in places, taking full advantage of the multiplicity of textural options.
Herbert Howells’ Master Tallis’s Testament, a salute to medieval British composer Thomas Tallis, had similar dynamic richness, Houlihan playing with a remarkable robustness that brought to mind the central theme’s similarity to Jehan Alain’s famous quasi-toccata Le Jardin Suspendu. That set the stage for a smartly counterintuitive triptych of excerpts from the symphonies of Louis Vierne, the iconic French organist and composer.
There was great historical precedent for that choice. Houlihan’s teacher, John Rose, founded the cathedral concert series a half-century ago and was in the audience. In the mid-70s, he’d staged a marathon performance of Vierne’s complete organ symphonies in this space. But rather than brimming with the angst and wrath that Vierne can channel with unparalleled intensity, Houlihan concentrated on disparate moods as well as Vierne’s unexpectedly puckish sense of humor.
Whether intentional or not, it also made a good capsule survey of the development of Vierne’s compositional style. The Scherzo, from Symphony No. 2, was gleaming, pouncing and insistent, proto-Messiaen without all the birdsong quotes. The Romance, from Symphony No. 4, was a vast nightscape delivered with silken expressiveness. Finally, Houlihan threw caution to the wind and attacked the Toccata from Vierne’s 24 Pièces de Fantaisie with a stiletto intensity. Yet even as this hurricane of sound grew from bluster toward sheer terror, there was an immutable, stunning balance, Houlihan confident amid the torrents in the very eye of the storm.
The cathedral concert series continues on Oct 21 at 4 PM with choral works by Bach, Handel, Mozart, Rossini, and Verdi performed by a stellar cast including Theodore Chletsos, Sandra Mercado, Jorge Ocasio, Elizabeth Perryman, and Klára Zíková-English; suggested donation is $15. Houlihan’s next recital is on Sept 28 at 7:30 PM with the Festival Orchestra, performing the mighty Poulenc Organ Concerto for Timpani and Orchestra at the Asylum Hill Congregational Church, 814 Asylum Ave. at Huntington St. in Hartford, Connecticut
Awestruck, Transcendent, Epic Grandeur from the Spectrum Symphony
One of the most transcendent concerts of 2016 happened Friday night at St. Peter’s Church in midtown, where the Spectrum Symphony played not one but two rare concertos for organ and orchestra by Poulenc and Balint Karosi, the latter a world premiere. First of all, beyond the famous Saint-Saens Organ Symphony, there isn’t much organ repertoire that incorporates much of anything other than brass – simply because church organs are loud. And paradoxically, to mute the organ as a concerto instrument would make it redundant: you can get “quiet organ” with woodwinds. So this show was doubly auspicious, incorporating both the Poulenc Concerto for Orchestra, Strings and Timpani in G along with works by Bach, Mendelssohn and the exhilarating, rivetingly dynamic Karosi Concerto No. 2 for Organ, Percussion and Strings, with the composer himself in the console. Conductor David Grunberg, who is really on a roll programming obscure works that deserve to be vastly better known, was a calmly poised, assured presence and had the group on their toes – as they had to be.
Another problematic issue with music for pipe organ and other instruments, from both a compositional and performance prespective, is the sonic decay. Not only do you have to take your time with this kind of music, you have to be minutely attuned to echo effects so that the organ and ensemble aren’t stepping all over each other. The acoustics at this space happen to be on the dry side, which worked to the musicians’ advantage. The strings opened by giving a lively, Vivaldiesque flair to the overture from Bach’s Orchestral Suite No, 3, BWV 1068, a clever bit of programming since the eight-part Poulenc suite – performed as an integral whole – opens with a robust shout-out to Bach before going off in all sorts of clever directions.
Organist Janos Palur parsed the piece with a deliberate, carefully crafted approach well-suited to its innumerable shifts from one idiom to another, from the baroque, to vividly lingering Romanticism, to a robust, completely unexpected dance and more astringent tonalities. Poulenc’s genius in assembling the piece came through in how integrally the organist and ensemble played it: both were clearly audible and rewardingly supportive of each other when in unison, and when not, transitions between solo organ and the strings were confidently fluid and natural. As the piece unwound, it took on a Gil Evans-like sweep and lustre, the lowest pedals and bass paired with sonic cirrus clouds floating serenely above the dark river underneath.
Percussionist Charles Kiger got even more of a workout with the Karosi premiere than he did with the Poulenc. Switching seamlessly from one instrument to another, his vibraphone amplified uneasy pointillisms that a different composer might have arranged for glockenspiel. Otherwise, his terse kettledrum accents bolstered Karosi’s stygian pedal undercurrents, and his mighty, crescendoing washes on the gongs provided the night’s most spine-tingling, thundering crescendos.
Yet for all its towering, epic grandeur, the concerto turned out to be stunningly subtle. Seemingly modeled on the architecture if not the melodies of the Poulenc, Karosi quickly quoted from the same Bach riff that Poulenc used and then worked his way through a completely different and even more adventurously multistylistic tour de force. There were allusions to the haunted atmospherics of Jehan Alain, the austere glimmer of Naji Hakim, the macabre cascades of Louis Vierne, and finally and most conclusively, the otherworldly, awestruck terror of Messiaen. But ultimately, the suite is its own animal – and vaults Karosi into the front ranks of global composers. It’s almost embarrassing to admit not being familiar with his work prior to this concert. Not only is this guy good, he’s John Adams good. Let’s hope for vastly more from him in the years and decades to come. And the Spectrum Symphony return to their new home at St. Peter’s on January 27 at 7:30 PM with a Mozart birthday party celebration featuring his “Prague” Symphony No. 28,
The Ultimate Halloween Song in Pretty Much the Ultimate Space
Ask any dedicated Halloween fan what they think of for a soundtrack for their favorite holiday, and a lot of them will scream, “Organ music!” Thankfully, here in New York we have Patrick Allen to supply that soundtrack a little in advance.
Allen is the tireless organist of Grace Church on Broadway just south of 11th Street. In addition to his extensive work with church services and the choir, Allen plays Bach Tuesday through Friday at twenty minutes past noon, sharp. These “organ meditations,” as he calls them, are free of charge, although you are encouraged to bring canned goods for the church’s food pantry.
Allen is a connoisseur of Bach. Not only does he perform the standard repertoire of preludes and fugues, and passacaglias, and hymns, but he also uncovers all sorts of obscure treasures like pastorales and folk dance themes in liturgical disguise. Playing expertly on the mighty 2013 Taylor and Boody organ, enhanced by the historic 1846 edifice’s magnificent natural reverb, his four-times-a-week performances are a gothic treat that every New Yorker should play hooky from work or school at least once in a lifetime to enjoy.
Beyond the general association, what do Allen’s performances have to do with Halloween? Right around this time of year, he breaks out Bach’s Toccata in D. It’s arguably the greatest piece of music ever written, it’s been a staple of horror film for almost a century, and Allen always lets his phrases linger with just a little extra grand guignol menace right about now. Stop by the church today or tomorrow if you’re in the neighborhood because you may be in for a real treat. The trick is to get here on time or you might miss it.
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