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JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

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.

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October 2, 2019 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, organ music, review, Reviews | , , , , , , , , , , , , , , , , , , | Leave a comment

Jeremy Filsell and Nigel Potts Reinvent Rachmaninoff

The organ at Christ & St. Stephen’s Church on the Upper West Side has an unexpectedly bright, ambered tone in the style of French organs of the mid-1800s. But the pipes here don’t have the kind of slow, echoey resonance they would in a marble cathedral. That enabled pianist/organist Jeremy Filsell and organist Nigel Potts to play their fascinating, timbrally rich arrangement of Rachmaninoff’s Piano Concerto No. 1 at a briskly triumphant clip that they couldn’t have gotten away with in a venue where the notes take longer to echo out, reaffirming Cameron Carpenter‘s recent observations on how much the diversity of organs around the world pretty much determines what can be played on them and what can’t.

The adventurousness of this program wasn’t limited to reinventing Rachmaninoff. The night’s theme, Filsell told the crowd, was composers born in 1873 along with the iconic Russian Romantic. Filsell opened on the organ with Belgian composer Joseph Jongen’s Sonata Eroica, a dynamically-charged blend of baroque precision and lush Romantic harmony counterbalanced by an eerie, otherworldly, much more forward-looking quality. In places, it reminded of Widor’s symphonies. In its more Germanic moments, it echoed another composer on the bill, Max Reger, whose Toccata & Fugue in D Minor Potts delivered with a steady verve. Both Potts and Filsell also played their own solo transcriptions of Rachmaninoff works, Potts doing a rapturous, aptly cantabile take of the famous Vocalise, Filsell doing two glittering, cascading early songs, Melody, Op. 21, No. 9 and Dreams, Op. 38, No. 5 at the piano.

But the piece everybody came out for was the Concerto. Filsell told everyone that it’s his favorite of Rachmaninoff’s four, reaffirmed by how much joy and transcendence he brought to it. Like so much of the composer’s work, its transcendent message and undercurrent of hope against hope couldn’t be more clear. Filsell played the opening movement with a steady, lilting, often jaunty sway, then pulled back and let the second resonate with an angst-drenched rubato. Meanwhile, Potts nimbly handled the orchestral score, and that was a revelation. The steady precision and often very quiet, even minimal approach he gave it underscored the composer’s ceaselessly clever counterpoint, contrasts and conversational sensibility that could just as easily get lost in the wash of a string section. They took it out with a victorious, towering splendor. One can only think that a nineteen-year old Rachmaninoff – that’s how old he was when he debuted the initial version of this work – would have joined in a standing ovation along with the audience. While it doesn’t appear that this concert was recorded, Filsell and Potts’ arrangement of both this piece and the immortal Piano Concerto No. 2 are both up at youtube in their entirety.

May 15, 2014 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, organ music, review, Reviews | , , , , , , , , , , , , , , , | Leave a comment