Diapason Review: <i>Two Landmarks in Columbus</i>. Timothy Edward Smith, organist.

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]

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]

Ken Cowan plays the Quimby Pipe Organ at First Baptist, Jackson; Art of the Symphonic Organist, Vol. 4. JAV Recordings, JAV 169; www.pipeorgancds.com.
Wagner, Overture from Die Meistersinger von Nürnberg; Saint-Saëns, Danse macabre; Karg-Elert, Three Impressions, op. 108; Symphonischer Choral: “Ach bleib mit deiner Gnade,” op. 87, no. 1; Rubenstein, Kamenoi Ostrow; Moszkowski, Étincelles, op. 36; Concert Etude in F Major, op. 72, no. 6; Poulenc, Presto in B-flat Major; Bovet, Salamanca from Trois Préludes Hambourgeois; Dupré, Allegro deciso from Évocation (Poème Symphonique).
This massive instrument speaks from the front directly into the large sanctuary. Given its size it would seem to be an ideal organ for such as Wagner’s Overture to “Die Meistersinger” or Saint-Saëns’ Danse macabre, in arrangements apparently by Cowan. They are registered colorfully and performed with flair, although occasional ritards in the “Danse” seem to impede the flow a bit.
It is good to have four of Karg-Elert’s impressionistic compositions included, as his music for organ is somewhat neglected today. Cowan gives him his due, using the ample resources of the large instrument. A convincing arrangement of Anton Rubenstein’s Kamenoi Ostrow is included, followed by piano transcriptions of difficult pieces by Moszkowski and Poulenc. These will remind many why such arrangements are something of an acquired taste, and others will be absolutely delighted to hear them!
Two “real” organ compositions finish the disc; first, the exciting Salamanca by Guy Bovet, who writes that “Freedom, color, and fun should characterize performances of this music.” Ken Cowan’s superb performance fulfills that fiat completely, as does the “Allegro deciso” conclusion of Dupré’s Évocation.
—Charles Huddleston Heaton
Pittsburgh Pennsylvania
[email protected]