Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Iain Quinn Makes the Organ Whisper Mightily

Here’s a clinic in contrasts for you: next up here, after a jazz organist who makes a Hammond B3 organ roar, is a classical organist who pulls the gentle subtleties from the depths of a massive church organ. That’s what Iain Quinn did yesterday at St. Thomas Church in midtown. He opened on the big, colorful but soon-to-be-decomissioned Skinner organ with Carl Czerny’s Prelude and Fugue in A Minor, Op. 607. It was pretty much what you would have expected (especially if you ever grimaced while making your way through a homework assignment of Czerny’s etudes): brazenly derivative, something that anyone who’s ever played Bach could have come up with. And yet, irresistibly fun: Quinn let its predictable changes go fluidly so that listeners could play along in their heads to see if they could guess where the melody would go next.

He followed with a considerably quieter, transparently baroque-influenced work, the Larghetto from Samuel Sebastian Wesley’s Six Pieces, all gentle, stately call-and-response. Samuel Barber’s Prelude and Fugue in B Minor moved from acerbic austerity in the Prelude to warmer consonance in the Fugue, which Quinn again let speak for itself.

The most captivating work on the bill was Quinn’s own composition, Continuum (Notre Dame). A beautifully hushed, still, richly overtone-tinged tone poem, Quinn masterfully mixed low flute stops, elegantly subtracting them one by one as it wound down to just a single sustained wash of sound. Spectral music for organ has rarely been so gripping.

Quinn’s own arrangement of Rachmaninoff’s Barcalolle, Op. 10 played up a gently lilting Venetian sway; he closed with the one fortissimo piece of the night, Glazunov’s blustery Prelude and Fugue in D Minor, Op. 98, dedicated to Saint-Saens and strongly evoking the French composer’s mix of rigor and playfulness.

Advertisements

November 22, 2010 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment

Dr. Joanna Elliott Plays the Organ at St. Thomas Church, NYC 4/27/08

Yet another attempt on the part of Lucid Culture to encourage adventurous listeners to investigate the fascinating, emotionally rewarding subculture of pipe organ music and the world-class performers who come through New York to play it. Not for the faint of heart. Then again, nothing you’ll find here ever is.

Galveston, Texas organist Joanna Elliott is a highly respected talent in the fanatical organ music demimonde, a student of Marie-Claire Alain and Joyce Jones, also adept at the concert harp. Tonight was a riveting, spectacular performance, even more than one would expect from a musician with the subtle sense of touch that comes from playing the harp. She opened with the famous Bach Toccata and Fugue in F Major (BWV 540), which begins all happy and upbeat before the demons start to filter in during its second part, the fugue. Literally pulling out all the stops, she managed to get the newer organ here, the smaller of the two, to sing. There was a triumphant sway in her playing, imbuing the piece with special optimism while remaining true to Bach’s clockwork rhythm.

Switching to the big, beautiful main organ here, she pulled out all the stops again for Marcel Dupre’s Prelude and Fugue in B Major, Op. 7. Dupre is one of the great exponents of French romanticism: his Stations of the Cross is one of the standard works in the organ repertoire and quite the showstopper, as was the piece Elliott had selected for tonight. Ablaze with purpose, melodies spinning from the pedals, it’s a hard piece to play and Elliott’s interpretation was both passionate and seemingly effortless.

Next on the bill was a duo of Louis Vierne compositions, Clair de Lune and the Toccata from his 24 Fantasy Pieces. The first is all quiet, eerie ambience, atmospheric sheets of ominous sound: Vierne’s moon here is completely phantasmagorical. The Toccata, by contrast, is all fire and brimstone, yet imbued with the same macabre feel, and Elliott sprinted through it as if someone was chasing her. And the unusual pace actually enhanced Vierne’s dark ambience, making it an apt counterpart to what had just preceded it. She closed with long-tenured Notre Dame organist Maurice Durufle’s famous Chorale on the theme of the hymn Veni Creator (Op. 4), another big warhorse, a suite whose brief, opening parts foreshadow absolutely nothing of the fireworks to come. Elliott set them off with unabashed joy, all the way through to the wall-rattling crescendo at the end.

April 27, 2008 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , | 1 Comment