Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Catching Up On Last Month’s Concerts

In an earlier incarnation, this space was devoted almost exclusively to live music. Then the publicists found us and the deluge of albums began. If you’ve been wondering where all the concert coverage went, that’s part of the answer. But there’s more to come – and there’s been a lot happening that hasn’t been mentioned here recently, in the scramble to wrap up this year’s crop of recordings.

This blog has been a longstanding advocate for the Sunday, 5:15 PM organ recitals at St. Thomas Church on 53rd Street at 5th Avenue, whose presence in the New York music scene become more precious since the massive old organ there is slated to be replaced at some unspecified future date. The mighty beast is actually a hybrid whose innards are in a more precarious state than they sound. But organists from around the world still make it sing, particularly the church’s director of music, John Scott, a New York treasure if there ever was one. His recordings of the complete organ works of Mendelssohn are definitive; he’s done the entire Buxtehude and Messiaen cycles for organ at this very same console. His October concert there saw him pull out the stops with nimble elegance on a towering Bach fantasia and then a quietly lustrous hymn, followed by a Charles Villiers Stamford setting of a different hymn, Maurice Durufle’s transcription of Louis Vierne’s thunderously atmospheric Meditation and then Jean Langlais’ even more blazing Te Deum from his Gregorian Paraphrases triptych completed a thrilling program. Suffice it to say that any time Scott plays, he is worth seeing. In the coming weeks he’ll be busy with church choir concerts – which are also worth seeing. His next scheduled recital here is February 10 of next year.

Another concert that delivered a titanic majesty was the New York Repertory Orchestra’s late October performance of Prokofiev’s phantasmagorically shapeshifting Divertimento followed by a lush, richly dynamic performance of Samuel Barber’s Cello Concerto with guest soloist Inbal Segev at the Church of St. Mary the Virgin on 46th St. As one random concertgoer perfectly capsulized it, this was an welcome surprise. It would have been even more enjoyable to have been able to stick around for the finale of Beethoven’s Symphony No. 1, but there were other things on the agenda here (and hence no fair and just way of giving the orchestra the fullscale review they deserved). They’re back here on Dec 15 with a program of Delibes, Walton and the New York premiere of Tubin’s Symphony No. 8.

Two other concerts that deserve a mention are the Hugo Wolf Quartett’s performances at Trinity Church the Thursday before the hurricane, and then a week later at the Austrian Cultural Center, where they’d been camping out since they weren’t able to fly home. At Trinity, they opened with a rousing performance of Mozart’s String Quartet in D Minor, K421. This is the second of the two Mozart quartets in minor keys; it’s focused, and as deep and dark as the composer ever got. The quartet had a ball with it, soaring through its wary exchanges with abandon and in the process almost upstaging Beethoven’s “Harp” String Quartet in Eb Major, Op. 74.

That piece is loaded with plenty of the did-you-just-hear-that cadenzas and sudden shifts between voices that the composer loved so much, well beyond the pizzicato section that inspired its nickname. A work so iconic  isn’t supposed to sound different from program to program, but this one did at the ensemble’s temporary midtown campground, and it was better. That is to say, more intimate and at the same time more energetically lush, although that interpretation might be colored by the superior sonics at the small concert hall here…and the group’s ability to roll out of bed, at least theoretically, and play. Also on the bill and delivered with meticulous nuance were Mendelssohn’s rousing early Romantic String Quartet No. 2 in A minor, Op. 13 and Philippe Hersant’s 1988 String Quartet No. 2, which juxtaposed airy atmospherics with bracing twelve-tone melodicism arrayed with High Romantic rhythms and dynamic swells. A gesture of appreciation from violinists Sebastian Gürtler and Régis Bringolf, violist Gertrud Weinmeister and cellist Florian Berner to the community for having put them up at a moment of crisis, they ended up giving back far more than they could have taken.

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November 17, 2012 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, organ music, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review: Heekyung Lee at the Organ at Central Synagogue, NYC 1/26/10

Korean-American Heekyung Lee, AGO scholar and assistant organist at Tuscaloosa, Alabama’s University Presbyterian Church, delivered an elegantly paced performance marked with smart subtleties and a ruthless attack on the keys and pedals when she needed it.

She opened with the upbeat Bach Prelude and Fugue in C Minor (BWV 546), a popular standard and solid opener with its steady call-and-response in the prelude followed by the the more apprehensive sway of the fugue that follows. Then she switched gears with two Jean Langlais works from his Neuf Pieces suite: the ambient, sometimes even minimalist Chant de Paix and the mighty, towering, surprisingly ominous Chant de Joie. This particular kind of joy seems something of a response to something less joyful, and Lee let it loose with a vengeance. After a breather with a hypnotic and frankly sleepy Sweelinck theme and variations on a hymn, it was back to the fire and brimstone, yet with the kind of precision and articulation necessary for a Max Reger piece, in this case the mighty Introduction and Passacaglia in D Minor. The forceful crash and burn of the intro rattled the interior of the sanctuary, giving way to the artful, fugal flow of the Bach-inspired second half. She closed with a showstopper, Bertold Hummel’s Alleluja. Messiaen-esque in its rapt, awestruck, somewhat horrified intensity, it’s a partita featuring a neat little flute passage over atmospheric pedals midway through, as well as a theme that borders on the macabre with its severe tonal clusters and recurs with a portentous triumph at the end. With its breathless staccato contrasting with big sustained block chords, it’s not easy to play, and Lee nailed it.

This particular recital was one of the bimonthly Prism Concerts, programmed by noted organist Gail Archer, which take place here at half past noon on the second and fourth Tuesday of the month. It’s a great way to reinvigorate if you work in midtown and can sneak out for awhile, and (shhhhh, don’t tell a soul) almost like having your own free, private concert.

January 26, 2010 Posted by | classical music, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

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