Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Gail Archer Brings Concert Organ Music Back to New York with a Rare, Fascinating Ukrainian Program

Gail Archer is not only a trailblazing organist and rescuer of undeservedly obscure repertoire. She’s also been responsible for some of the most entertaining and often rewardingly unorthodox organ music programming in this city in recent years. So it was no surprise to see her back at the console Saturday afternoon, playing what has to be one of the first, quite possibly the very first organ concert for a public audience in this city since Andrew Cuomo declared himself dictator. While the turnout at St. John Nepomucene Church just west of Tudor City was very sparse, this being Rosh Hashanah, Archer and the church’s very personable staff deserve immense credit for their commitment to bringing back the arts.

What was most immediately striking about the program – essentially a reprise of Archer’s new album, Chernivtsi, A Recording of Contemporary Ukrainian Organ Music – was how loud it was. She took full advantage of the 1956 Kilgen organ and the space’s impressive amount of natural reverb throughout a robustly seamless performance of mostly rather midrangey material.

Ukraine has a deep tradition of choral music, but less so with the organ, and as a result most of the works on the bill were 20th century vintage. Much as it was glorious to simply be able to see an organ concert in Manhattan again, this was a pensive glory. There was no Lisztian ostentatiousness, nor much reliance on the many more colors that composers from where the organ has more of a history might have brought into the music. Rather, the similarity of the timbres and registrations made for plenty of strong segues. And it’s a fair bet that Archer was premiering much of this material, whether simply for New York, or for all of North America.

What stood out from hearing Bohdan Kotyuk’s Fanfare live rather than on the album? The echo effects – a favorite concert device for Archer – and the prominence of the lows. His Benedictus: Song of Zachariah seemed much more distinctly Romantic, by comparison. The initial, blustery foreshadowing of Tadeusz Machl’s Piece in Five Movements brought to mind Charles Widor; its stormy bursts over lingering resonance later on evoked the work of contemporary composer Naji Hakim.

Archer surpassed her already colorful album version of Viktor Goncharenko’s Fantasia with a steady dynamism, and later brought out more of a lilt in the cadences of Svitlana Ostrova’s Chacona. The remaining two pieces on the bill were the most rapturous, beginning with the dark, slowly expanding majesty of Mykola Kolessa’s Passacaglia. Iwan Kryschanowskij’s arguably even more mysterious, symphonic Fantasie was an enveloping yet relentlessly restless choice of coda, Archer building starry ambience and broodingly stairstepping intensity amidst the swirl and pedalpoint, to a deliciously articulated series of chromatic themes right before the end.

The monthly series of organ concerts at St. John Nepomucene Church, 411 E 66th St. continues on Oct 17 at 3 PM with a performance by Austin Philemon.

September 21, 2020 Posted by | classical music, concert, Live Events, Music, music, concert, organ music, review, Reviews | , , , , , , , , , , , , , , , , | Leave a comment

Organ Adventurer Gail Archer Rescues Rare Ukrainian Works From Obscurity

Organist Gail Archer is the first American woman to perform the complete Messiaen cycle. Witnessing her play some of the best of it on the mighty Kilgen organ at St. Patrick’s Cathedral back in 2008 was a visceral thrill. But Archer’s passion seems to be rescuing the work of obscure composers. In the ensuing years, she turned her attention to American composers, then to little-known Russian works. Her latest album, Chernivtsi, A Recording of Contemporary Ukrainian Organ Music – streaming at Spotify – celebrates an even lesser-known part of the repertoire.

While just about every Western European city is filled with pipe organs, the instrument is much harder to find in Russia and even more so in Ukraine. But Archer went to the well and came up with a fascinating playlist of mostly short works, the majority by contemporary composers. Interestingly, she had to go outside the Russian Orthodox tradition for the organ she performs on here, a Riegger-Kloss model in the Armenian Catholic Church in Chernivtsi with particularly strong, French midrange colors.

The first piece is Bohdan Kotyuk’s Fanfare: Archer plays this decidedly ambiguous piece with steadiness but also restraint, rather than trying to make it a fullscale celebration, which it definitely is not. The second Kotyuk work here is Benedictus: Song of Zachariah. It’s an interesting piece of music, beginning as a similarly enigmatic fanfare and warming to a chuffing rondo requiring precision as pointillistic as it can possibly get on this instrument: Archer rises to the challenge.

Tadeusz Machl’s Piece in Five Movements begins with a rhythmically dissociative introduction with prominent pedal work, grows steadier with a more airy, meditative midrange passage and then morphs into a pavane. Archer follows the brief, robust processional third part with more of a defiantly unresolved fugue, with some lusciously austere tremolo. She wraps it up with a brief, emphatic chorale and some well thought-out echo effects: this obviouly isn’t just a piano piece shifted to the organ, as one might expect coming from this part of the world.

The Fantasia, by Viktor Goncharenko echoes the off-kilter rhythms of the album’s opening piece, but with many more stops out, at least until a rather desolate passage and then a coolly insistent conclusion. Mykola Kolessa, who died in 2006 at age 103, is represented by an allusively chromatic, waltzing, artfully crescendoing and often outright suspenseful Passacaglia: what a discovery!

Svitlana Ostrova’s Chacona makes a good segue, a blend of swirling old-world grace and modern austerity. Archer closes with Iwan Kryschanowskij’s hauntingly symphonic Fantasie, its variations on stairstepping riffage and a long build to macabre resonance. Although the music calms, the theme continues to circle around a foreboding center until an anthemic variation on the introduction. At last, Archer takes those steps all the way down into the abyss, only to rise to a guarded triumph.

Until the lockdown, Archer maintained a busy schedule not only as a performer but also as an impresario. And she’s taking the brave step of scheduling an album release concert for this record at St. John Nepomucene Church, 411 E 66th St. at 1st Ave. on Sept 19 at 3 PM; admission is free.

September 12, 2020 Posted by | classical music, Music, music, concert, organ music, review, Reviews | , , , , , , , , , , , , , , , | Leave a comment