Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

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.

May 22, 2019 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, organ music, review, Reviews | , , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review: Herve Duteil at the Organ at St. Thomas Church, NYC 11/15/09

Herve Duteil trained as a classical organist, along the way winning and later judging international competitions. His dayjob appears to be finance, along with a position at NGO relief organization Fidesco USA. Good thing he hasn’t given up his other job as a concert performer: his recital at St. Thomas on the fifteenth was blissfully intense.

Many of us have groused about how performers not only in classical but also in jazz will follow a rousing piece with a composition which is 180 degrees the opposite. And which makes a horrible segue. Why? To give themselves a breather? To offer a study in contrasts? Too frequently, this device seems to be a cop-out – and vive Duteil for not doing it. He kicked off the evening on the rear organ, designed and tuned especially for the baroque and composers of the North German School. Pulling out all the stops, he turned this usually understated instrument into a force of menace with Nicholas Bruhns’ Praeludium in E Minor (this link offers a decent version but one that can’t compare with the vigor and good cheer that Duteil served up).

Moving to the redoubtable Skinner organ at the front of the church, he then lit into German Romantic composer Josef Rheinberger’s Sonata No. 8 in E Minor. Opening with a full-bore plein jeu attack, the piece  builds to an extremely clever tradeoff between its initial waltz theme and the dramatic, straightforward stomp that follows. It ended as ferociously as it had began. Duteil then pulled back, but just a little, for the Moderato and then the Andante Sostenuto of Charles Widor’s Symphonie Gothique (which is actually pretty far from what we think of as gothic.) Sturm und drang from a distance built to a little real sturm und drang, followed by marvelously nuanced, nebulously muted cantabile disquiet. The program closed with Charles Tournemire’s famous Improvisation sur le Te Deum, all high-pressure fluid dynamics and dramatic counterpoint. It’s a showstopper, and in Duteil’s hands brought what was already a powerful performance to a wall-shaking crescendo. Duteil is no stranger to this venue; hopefully he’ll be back, before the old Skinner (ostensibly in disrepair but sounding no worse for the wear and tear of almost a century) gets pulled off the wall and replaced.

November 26, 2009 Posted by | Music, music, concert, review, Reviews | , , , , , , , , , , , , , , | Leave a comment