Word: organisms
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
With any concert involving organ in Mem Church there are serious problems for the audience. The Fisk instrument has two entirely separate characters. In Appleton Chapel, it is a magnificently powerful baroque organ. But for the majority of listeners in the nave of the Churc, the top-heavy registrations are not backed with sufficient fundamental tones to carry through sucha a large structure. The result is exactly what happened last Wednesday: the small group in Appleton is far more satisfied with the playing than the bulk of the audience who are listening, essentially, to a scaled-down version. The performers...
Baroque trumpet and organ, produce an incredibly powerful sound together. Given a well-selected program and a competent performance, the result is often quite thrilling. Add to this the specific artistry of an Edward Tarr--considered by many the finest baroque trumpeter today--and the combination should be superb. But last Wednesday's recital at Memorial Church was a disappointment. Though the playing was excellent, the program was second-rate: and no amount of techinical accomplishment can redeem medicore music...
...zymbalstern stop tinkles in the background. The Ligeti is very much an organist's piece for it experiments continously with varieties of tone color in the different stops rather than relying on pitch differentiation. George Ken: performed well, demonstrating an impressive sensitivity to the possibilities of the big Fisk organ...
...most impressive duo playing of the evening was in the Benno Ammann Repons du Matin: Two Pieces for Trumpet and Organ. Composed in 1969 for Tarr and Kent, the demands on the trumpet player are extraordinary. With amazing precision, Tarr coped with various jazz-like fragments, brutally syncopated rhythms, and the closest of harmonies. Even when using a mute, he did not lose subtle shadings of tone...
...Trumpet Voluntaries belies an unflattering reputation as a feeble Purcell. Only in this set of pieces did Tarr display the kind of virtuoso talent for which he is generally known. The sense of ensemble--excellent throughout the evening--was pertect here in the brilliant parallel thirds where the organ registration sounded like a second trumpet. Equally successful was the encore, a Telemann Air de Trompette, performed with a tremendous sense of style galant grace. An entire Telemann suite would have been vastly preferable to fragments of early baroque sonatas...