Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

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.

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

Herve Duteil Pulls Out All the Stops Uptown

On one hand, musicians are always highfiving each other in public. But when an artist as imaginative and original as Kent Tritle introduces a fellow organist as having those exact same qualities, that endorsement carries a lot of weight. Yesterday evening at the Cathedral of St. John the Divine, concert organist Herve Duteil stepped into the console and delivered a program that was as impressively eclectic as it was thrilling. He began with his own arrangement of the opening theme from Strauss’ Also Sprach Zarathustra. Other organists should track this down: it’s every bit the showstopper it should be. Duteil built a suspenseful wash of murky pedal tones before hitting the big explosive riff, which reverberated throughout the cathedral from the dramatic trumpet stops located in the ceiling. And just for fun, he played the timpani’s bump-BUMP, bump-BUMP on the pedals.

That the rest of the program wasn’t anticlimactic speaks to the quality of the musicianship and diversity of the program that Duteil brought along. He gave Elgar’s Nimrod, from the Enigma Variations an aptly saturnine restraint, after which soprano saxophonist Daniel Glaude joined him for a vivid rendition of contemporary composer Paul Halley’s The Lake. As it rose from plaintive, desolate atmospherics to more lively, wavelike imagery, the two paced it expertly to maximize the cathedral’s cavernous echo sonics: it was as if there was a whole saxophone section playing a rondo along with the organ. On Gabriel’s Oboe, by Morricone, oboeist David Diggs joined Duteil for a rapt, hymnlike version of this well-known (and decidedly un-Morricone-esque) theme from the soundtrack to the film The Mission.

Duteil played the rest of the program by himself. Again, he paced sections of the Bach transcription of Vivaldi’s Concerto in D Minor (from L’Estro Armonico) to match the echo in the space, notably the fugue and then the Largo e Spiccato movement, which became more of a matter-of-fact, guardedly optimistic march. He followed with the rapidfire echoes of the Joseph Jongen Toccata, whose barrage of tradeoffs between hands Duteil said in the program notes would acoustically generate a “pat on the back.” This was an understatement: it’s not every day when a rousing, cascading finale like this one can be so reassuring at the same time. Before its concluding chord had echoed into silence, the large crowd – Duteil’s passionate wizardry has earned him a considerable Manhattan following – exploded in applause and wanted more, but it was time for the church to revert to being a house of worship once again. By the way, fans of organ music should know that Tritle himself will be playing one of these Sunday evening recitals on March 18 at 5:15 PM.

March 5, 2012 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, organ music, review, Reviews | , , , , , , , , , , , , , , , , , , , , , | Leave a comment