Blasts from the Century Past, David Heller. Trinity Episcopal Cathedral, Portland, Oregon, 1986 Rosales organ. Pro Organo CD 7197;
www.zarex.com.
Subtitled “A Baby-Boomer’s Organ Scrapbook from the Nuclear Century,” this clever idea gives an opportunity to showcase familiar music many of us learned during our student days. Bonnet’s bombastic Variations de Concert is truly a blast, while Frank Bridge’s serene Adagio in E Major perhaps does not require a totally full-organ climax with such a brightly voiced instrument. The quiet ending, however, is elegantly interpreted by Dr. Heller.
The repertoire reminds us of the many beautiful compositions from relatively recent years. Vierne’s evocative Etoile du Soir and the Dupré Lamento are cases in point, sensitively performed on this versatile organ. It is good to hear one of Paul Hindemith’s sonatas—this the 1937 Sonate II, showing Hindemith’s mastery of harmony and counterpoint. Refreshing!
There is a very wide dynamic range on the recording. My preference is for the quieter sounds up to about a forte. To me the fff passages are excessively bright. William Albright’s devilish Jig for the Feet poses no problem for David Heller. It is dashed off in great style. A nice touch before the playing of Persichetti’s Chorale Prelude on “Drop, Drop Slow Tears” is that it is beautifully sung by baritone Kevin Walsh.
The concluding selection is actually a “Blast from the Century Present”—a 2002 Fantasy Toccata commissioned by Dr. Heller and composed by Craig Phillips. This complex work of about eight minutes duration is well worth hearing, and exuberantly performed.
—Charles Huddleston Heaton
Pittsburgh, Pennsylvania
Diapason Review: Blasts from the Century Past, played by David Heller
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New Recordings
The Organ Music of Gerald Near; Steven Egler, organist; 1997 Casavant, 61 ranks, Central Michigan University. Disc 1: Choraleworks (complete), disc 2: Suite in Classical Style and Sonata in F-sharp Minor. White Pine Music, WPM 203,
www.whitepinemusic.com.
While CDs of the music of a single composer are plentiful enough from bygone eras (Bach, Franck, etc.), it is more unusual in the case of contemporary composers. Most active church organists will have played some of Near’s attractive music, much of which is of modest difficulty. The three sets of Choraleworks are based almost entirely on familiar hymn tunes or chorales. They are brief and usable as voluntaries or introductions to the singing and some would be effective in recital. Egler clearly enjoys these pieces, and his playing and the instrument show them to advantage. There are 28 of these imaginative chorales on the first disc.
Two substantial works comprise the music of the second CD. The Suite in Classic Style, with the excellent addition of the skilled flutist Frances Shelly, is the first, followed by the Sonata in F-sharp Minor. The Suite is beautifully written and performed here with exemplary style. It is a wonderful addition to the repertoire. The 2001 Sonata is a substantial work, with the sections entitled “Chaconne,” “Lento,” and “Fugue.” Dr. Egler’s colorful registrations and understanding of the styles show these compositions to ultimate advantage.
--Charles Huddleston Heaton
Pittsburgh, Pennsylvania
[email protected]
New Recordings
French Eclat in the Roanoke Valley, Thomas Baugh, organist; 2004 Fisk organ, 32 stops, Christ Episcopal Church, Roanoke, Virginia. Raven Recording OAR 850,
www.ravencd.com.
It is always interesting to me to hear a recording of a modest sized-instrument of great effectiveness played with style and imagination, which is the case here. Thomas Baugh has been director of music of the church for twenty years. This varied program, well played, gives a convincing demonstration of the tonal possibilities, beginning with Gerre Hancock’s typically complex Toccata.
Following familiar de Grigny (Récit de tierce en taille) and Balbastre (Noël, Où, s’en vont ces gais bergers) is a very fine arrangement of Gabriel Fauré’s Pelleas et Melisande Suite, done by Mr. Baugh—it includes the charming “Fileuse” and the more familiar “Sicilienne.” This organ transcription should be published. Effective treatments of the hymn tune Nyland by Roanoke colleague Richard Cummins and Robert Roth’s Improvisation on “The Infant King” follow, then Searle Wright’s Introduction, Passacaglia and Fugue, an important work by any standard, is beautifully performed with imagination. Two works by Bach are the final selections: Wir glauben, BWV 740, and the Prelude and Fugue in C, BWV 547. It is worth noting that four of the twelve compositions have a premiere recording here. Kudos!
--Charles Huddleston Heaton
Pittsburgh, Pennsylvania
[email protected]
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