Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Organist Yuri McCoy’s Symphonic Roar: Truth in Advertising

A cynic would say that the title of organist Yuri McCoy‘s new album Symphonic Roar: An Odyssey of Sound from the Paris Conservatoire – which hasn’t hit the web yet – is redundant. After all, epic grandeur and volume are what bring out the faithful in the organ demimonde and keep them coming back. On the other hand, as explosive and adrenalizing as this album is, it’s also remarkably subtle.

McCoy discovered that he had a couple of organs in his native Houston which were especially well suited to the wide expanse of characteristically French colors in this program, a mix of popular repertoire, a dazzling rarity and a brand-new arrangement of a strange relic from the Paris Surrealist movement.

He opens on the spectacular 1997 Fisk-Rosales organ at Rice University with Jean-Louis Florentz’s showstopper La Croix Du Sud. If you’ve ever wondered what Malian psychedelic rock would sound like on a pipe organ, this is it, rising from a hypnotically assertive Tuareg riff to an increasingly wild swirl of variations meant to evoke the dizzying ecstasy of Sufi dance. Florentz was a student of Messiaen, so that influence is apparent, especially in the piece’s starriest moments; Jehan Alain is another one, along with another piece that will follow later on the program here. The frenetic polyrhythms camouflaging an anthemic, Alainesque theme early on, the sudden flares over a brooding pedal note and the series of long climbs afterward will give you goosebumps. What a way to kick off an album.

McCoy follows with an increasingly blistering, breathtakingly dynamic take of the famous allegro vivace movement from Guilmant’s Sonata No. 2. He mines burbling phantasmagoria and finds a creepy anthem in Joseph Bonnet’s brief Will O’the Wisp. Then he concocts a bracing blend of icy, wafting and majestic registrations for Saint-Saens’ Fantaisie in D Flat, rising from an unexpectedly wistful introduction, to stately, airy angst, an anthemic hymn of sorts, and back.

McCoy moves to the 2017 Nichols & Simpson organ at his home base, Houston’s South Main Baptist Church to play a particularly expansive, deep-sky take of Louis Vierne’s iconic Clair de Lune. He winds up the record with his own brand-new arrangement of Edgar Varese’s sprawling 1926 symphonic work Ameriques. Varese had left France behind for the US by then: there’s a classic European wonder at American energy and vitality here, as well as a dissociatively shifting, one might say schizophrenic expanse of remarkably forward-looking ideas that sometimes edge over into the macabre. Percussion plays every bit as much a part as the organ: Brady Spitz and his “assistants,” Colin Boothby and Grant Wareham have just as much fun with their sirens and castanets and assorted implements as McCoy has in the console.

April 15, 2021 Posted by | avant garde music, classical music, Music, music, concert, organ music, review, Reviews | , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Belgian Organist Treats a Midtown Audience to Brilliant Obscurities

We recently mentioned scenes in New York which encourage and nurture musicians rather than exploiting them as many venues do. Another one of those scenes, slowly and steadily building a following over the past year or so, is the lunchtime concert series at half past noon at Central Synagogue on Lexington Ave. curated by organist Gail Archer (whose deliciously titled American Idyll compilation of works by American composers is a genuine classic). On the second and fourth Tuesdays of the month, she brings in a series of first-rate international performers, established touring artists along with young organists making their first ventures into world-class venues such as this one. Today’s artist was Ignace Michiels, organist at Saint-Saviours Cathedral in Bruges, Belgium.

Like so many performers from overseas, Michiels brought a fascinating mix of unfamiliar material, which actually overshadowed the better-known pieces on the program. He opened with the emphatic, driving triplet volleys of Bach’s Chorale on Valet will ich der Geben (BWV 736), a rousing warmup followed by a warmly cantabile take of the Romanze from Josef Rheinberger’s Sonata No. 9, Op. 142. The pace picked up with the majestic call-and-response resolutions of Alexandre Guilmant’s Allegro con fuoco from his Sixth Sonata.

Then the reallly fascinating part began. In addition to founding the Tucson Symphony Orchestra, which he conducted, Belgian-American keyboardist Camil Van Hulse wrote several symphonic works. Michiels’ flights through the astringently Messiaenesque, upwardly winding branches of the scherzo from Van Hulse’s Symphonia Mystica were a revelation: if the rest of the piece is equally interesting, it’s a masterpiece waiting to be rediscovered. Likewise, Gaston Litaize’s Prelude et Danse Fuguee deserves to be better known, a menacing marionette dance that grows to a clash of titans – or the charge of an orc army, for Lord of the Rings fans. And Joseph Bonnet’s Elves grew from a playful game of hide-and-seek among the low flute stops to a flood of the little things. Michiels closed with Naji Hakim’s rigorously cerebral Ouverture Libanaise (which interestingly didn’t have any overt Middle Eastern tonalities), then a ragtime piece that could have been left off the bill, and finally the showstopper, the Allegro from 20th century Hungarian composer Frigyes Hidas’ Sonata for Organ, yet another too-obscure masterpiece packed with long, stormy full-bore crescendos and torrents that built to an unstoppable, volcanic coda. It was as much a display of speed and power as it was adventurous a choice to include in the program. The series here continues on the 23rd of this month.

November 9, 2010 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , | Leave a comment