Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Concert Review: Timothy R. Allen at the Organ at St. Thomas Church, NYC 10/21/07

There’s been a lot of mudslinging lately aimed at certain music blogs who flog the same horse – usually a pretty dead one – over and over again. At the risk of falling into that category, let it be said here once more that the weekly, Sunday 5:15 PM organ concert series here is one of New York’s best-kept secrets. If we had our way, it would be much less of one.

This evening’s recitalist was British native Timothy R. Allen, an organist with a conscience. While working in Londonderry, Ireland, he reached out with an olive branch to his Catholic counterpart, Donal Doherty at the Derry Cathedral. The result was the interfaith Two Cathedrals Festival promoting peace and intercommunity relations, a major accomplishment. Allen’s dedication to social issues is matched by his skill at the console, as tonight’s diverse program demonstrated. He opened with British composer Percy Whitlock’s Fantasie Choral No. 2, in difficult F sharp minor. In contrast to Allen, Whitlock’s politics didn’t extend to his music: he may have been something of a recalcitrant Tory wingnut, but there’s a warmth and a joy in much of his work. Although this particular piece begins in a minor key, it quickly switches to the major, with a soulful, catchy, recurrent theme, essentially a spiritual without words.

Allen then shifted gears dramatically with Messiaen’s Dyptich: An Essay on Life on Earth and Eternal Happiness. The first section is an almost shockingly grotesque fugue, almost a parody, its call-and-response neither major nor minor, twisted, tormented, deliberately and arduously unmelodic. Obviously Messiaen was looking forward to his heavenly reward, which in the second part is predictably calm and ambient, mostly sheets of sound played in the upper registers on the organ’s flutes. Troubled as it is, the first part is exponentially more interesting than what follows.

Allen closed with Alexandre Guilmant’s First Sonata in D Minor, a typical French Romantic piece, quite long for its sonata form. He effectively emphasized the considerable contrast between the boisterous intro and outro sandwiching the quiet, meditative pastorale in between. Yet another superb concert in this sonically rich yet pretty much undiscovered space. Does organ music scare people off? Do agnostics and atheists stay away because they assume a religious undercurrent (a vastly erroneous assumption!)? Or is this series like a favorite restaurant, one that’s nice to see having enough of a clientele to stay in business but not to the extent that reservations are required?

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October 22, 2007 Posted by | classical music, concert, Live Events, Music, New York City, review, Reviews | , , , , , , , , , , , | 2 Comments