Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

A Colorful, Counterintuitive World Premiere Organ Recording of a Famous Symphony

Today’s album is an especially colorful piece, organist Thilo Muster‘s world premiere recording of Eberhard Klotz’s transcription of Bruckner’s Symphony No. 9 in D Minor, streaming at Spotify.

Beginning around two centuries ago and for many decades afterward, it was common for European organists to play music written for symphony orchestra, for audiences in small or rural communities who couldn’t make it to the big city to see the genuine item. But this one is special: it’s arguably better than the original, and wouldn’t be out of place in the Charles Widor catalog. Klotz’s transcription is noteworthy for its translucence: themes never get subsumed in bluster. Muster plays with dynamism amid steady pacing, his registrations taking full advantage of the wide, French-toned palette of the organ at the Eglise St-Martin in Dudelange, Luxembourg. Anton Bruckner, who for years made his living as a church organist and earned a reputation as a brilliant improviser, would no doubt approve.

It’s an unfinished symphony: the composer died three movements in. The first rises to a rather cheery, airily anthemic sway, then at the change to minor, Muster pulls out the stops and the effect is breathtaking. A cuckoo phrase over a gentle march gets spun in stately style through a series of increasingly serious variations, stern peaks, calmer valleys and tidal atmospherics. Muster really takes his time after a full stop as the long upward trajectory continues: this is scenic ride, and he wants everybody to be looking out the window.

Muster masterfully alternates a cheery strut with a big, puffy pulse as the second movement gets underway, up to the mighty, torrential Russian dance coda. He pulls back but keeps a matter-of-fact drive going in movement three – the closest thing we have to a conclusion. It’s more of an energetic stroll than a march; likewise, the volleys of eighth notes at the peak are a swirl rather than a torrent, setting up the descent into calm, wistful reflection.

October 15, 2021 Posted by | classical music, Music, music, concert, 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

Justin David Miller at the Organ at St. Thomas Church, NYC 1/27/08

At the risk of redundancy, we will continue to sing the praises of the stellar, 5:15 PM Sunday series of organ recitals that runs through the end of May at St. Thomas Church at 53rd and 5th Ave. Their 1913 Skinner organ is a magically potent instrument and the sonics in the church are spectacular, with about a three second decay (the time it takes for sound to fade completely after a note is played). As a result, all the best touring organists want to play here. But tonight was a completely unexpected treat. The scheduled organist was unavailable, so Miller was pressed into duty on short notice. A student at Westminster Choir College in New Jersey, the young organist’s regular assignation is Assistant Organist at St. Peter’s Episcopal Church in Morristown, New Jersey. St. Peter’s head organist and music director, Brian Harlow, is a specialist in duets and a regular guest at St. Thomas, which may explain what Miller – who doesn’t look much older than 16 – was doing behind the console tonight. Whatever the case, he was a revelation, playing a difficult and frequently ostentatious program with uncommon subtlety and sensitivity.

He opened with the famous Allegro from Widor’s Sixth Symphony, whose intro and outro Elton John infamously ripped off for Funeral for a Friend. It’s a standard in the organ repertoire and something of a showcase, meaning that diehard aficionados would immediately pick up on any imperfection. But there were none. In the fiery cascades and long crescendos of the work, it was as if Miller was sending out a particularly auspicious announcement: he had arrived.

The subway rattled underneath, and the church bells rang within seconds after he finished. Slowly, it became apparent that he had already launched into the next piece, Max Reger’s Benedictus. Building very gradually from an almost subsonically low, sustained pedal passage, it’s Reger sounding uncommonly modernist and ambient. The next piece, the great British composer Herbert Howells’ Psalm Prelude made a marvelous segue. Howells’ work is rich with melody, warmth and optimism, and Miller brought out every bit in this trademark composition. He closed with Maurice Durufle’s famous tribute to Jehan Alain, where quotes from many of the great French composer and WWII hero’s best-loved works are sewn into a strikingly dark, bracingly imaginative suite, as far outside the box as Durufle, the great traditionalist, ever went. Other organists blaze through this. Miller didn’t, finding the room to emphasize all the strange dissonances, longing and unease woven into the piece. You read it here first: this young organist is someone to watch, and to experience live, certainly worth a New Jersey Transit trip for the time being.

January 28, 2008 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , | 15 Comments