PipeChat Digest #2512 - Thursday, November 22, 2001
Andrew Henderson, St. Ignatius Loyola, NY - October 28th
  by "Malcolm Wechsler" <manderusa@earthlink.net>
Looking for Jarding Opus list
  by <mts@intergrafix.net>

(back) Subject: Andrew Henderson, St. Ignatius Loyola, NY - October 28th From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Wed, 21 Nov 2001 23:51:52 -0500   Dear Lists and Friends,   Andrew Henderson, a native of Ontario, Canada, is a new member (Assistant Organist) of the music staff at St. Ignatius Loyola in New York. He is presently in a doctoral program at Juilliard, and holds a BA from Cambridge University and a Master's in Organ Performance from Yale. While at Cambridge, he was Organ Scholar at Clare College. On October 28th, he played a debut recital at St Ignatius, possibly also a = New York debut-I failed to ask.   Shortly after hearing his program, I read an Internet review by Dr. Karl Moyer of Pennsylvana of a recital by the New Zealand organist Nigel Potts, and I was struck by how much some of what he wrote described what I had just heard from Andrew Henderson. "He does not play like a big deal 'look at me' type player; he projects the music instead of himself, keeping himself slightly in the background. . . . . with registration that fit[s] just right at every turn." Dr. Moyer went on to say, in words different from what I am using, that this type of playing might not be crowd-pleasing, but rather would appeal most to those with a knowledge of, and well developed appreciation for, organ music. I think we all know what he means, and know what he says can be true. However, I have a badly organized and highly undeveloped theory about players who, while they are not what is often referred to as "flashy," somehow in their quiet way possess a certain sort of charisma that generates a rapport with audiences at all levels of understanding. Such a one is Andrew Henderson. I shall find out about Nigel Potts on the 26th at Woolsey Hall! "High Art" is not an emasculating term. What I heard was indeed High Art!   Bach - Toccata, Adagio & Fugue in C - Full of controlled energy - Thanks = to train troubles, I arrived during the very sweet and gentle Adagio. The Fugue began somewhat placidly and built gradually, almost imperceptibly, and subtly but unmistakably, attention was paid to numerous structural details often passed over. It was thoughtful, reposeful, and convincing Bach, not to be in any way confused with soporific!   Domenico Scarlatti - These are the three of the more than 500 Scarlatti keyboard sonatas which have indications possibly suggesting performance on the organ. Good use was made of the color possibilities of the pipe organ. I guess it is worth doing them this way, particularly if a case is made that Scarlatti had the organ in mind. I have known and loved them for years as harpsichord works, and even learned to accept the anachronisn of parades of Oberlin students playing them at student recitals on the big Steinway!   Buxtehude - Magnificat primi toni. - There was articulation sufficient for clarity - no more than that, as in nothing mannered or excessive. There is lots of supporting musical energy, but it quietly serves the = music, not any outward show! (I wrote the above paragraph before reading Karl = Moyer on Nigel Potts.) This was quietly beautiful playing. The final section did breathe fire!   After intermission, something completely different, Herbert Howells - Rhapsody in C # Minor. I had a flashback to a concert I heard John = McIntosh (faculty at University of Western Ontario) play on Gabriel Kney's fine = organ at Aeolian Town Hall in London, Ontario many years ago. (Yes, this is the instrument that is now for sale!) About 3/4 of the way through, I began to suspect that the choice of repertoire, or at least the arrangement of it, and the registrations, were designed to slowly build the level of sound = from the beginning to the end of the program, and by the end, I was sure of it. And then, when I asked John about it, he confirmed this. The relative calm of the use of the organ in part 1 in Andrew's recital made the rich = opening of the Howells wonderfully telling. I found myself wondering if any = Howells had been played here before? I could not recall, but Kent Tritle, when asked, was able to recite a short list of Howells sightings. In any case, after Bach, Scarlatti, and Buxtehude, we heard another side of this organist's abilities. Like the true Cambridge Organ Scholar that he was, = he was at peace with the requirements of performance and registration of this music, and also made it clear that this instrument can speak Howells eloquently. I found this very moving, but then came another larger, overwhelming work, another favorite for me:   Durufle Suite, Opus 5.- First the brooding prelude, and then the tender Sicilienne, its lovely intracies made clear. The Toccata, unloved by its creator - Wow! What sort of musical brain can this music come out of? Durufle seemed to have thought he created a Frankenstein, forbidding his wife to play or teach it. (There are many stories of students coming to = St. Etienne for lessons at hours when Le Maitre would not be around, in order = to study this piece with Marie-Madeleine!) The entire suite, and for that matter, the whole recital, sent me home on a great high. It was all so beautiful, and so fine to know that Andrew Henderson is taking his place = in keeping up the very high standard at St. Ignatius Loyola that is so much appreciated by increasing numbers of concert goers in the New York region.   Next essay, hopefully tomorrow, describing a beautiful and somewhat unique concert by listmember (and now Doctor!) Jonathan Hall, also on 10/28, at = his own Church of the Epiphany in Manhattan. I feel like I am starting to = catch up with a backlog, but then there is still Daniel Roth at St. Joseph Cathedral, Hartford (11/6) and Mark Swicegood at St. Agnes NY (11/7) in an all = Guilmant program. To top it all off, on the 14th, last Wednesday, at St. Ignatius Loyola NY, Nancianne Parrella played a kind of a jaw-dropping program of immense power and beauty - with 7 of the city's best Brass players and two not-shy Percussionists. This was a 6:30 pre-concert recital, the main show at 8 being a truly remarkable program of 20th century music for chorus, = big orchestra, and soloists, vocal and instrumental - an almost unbelievable collection of mind and ear stretching stuff. I will report only briefly on that, it being mostly off-topic for Pipe Organ List - the organ did get = used minimally. What we ended up with that evening were really two complete and equal concerts in their importance and certainly their execution. I can hardly wait to tell about this. Watch this space!   Cheers,   Malcolm Wechsler        
(back) Subject: Looking for Jarding Opus list From: <mts@intergrafix.net> Date: Thu, 22 Nov 2001 01:20:16 -0500   Greetings and happy Thanksgiving...     Just wondering if anybody knows where I might find a list of Jardine works and opus numbers, maybe even stoplists and tech info. I'm still trying to track down these pipes' original home, and have the Church name (I think). I'd like to find an original specification, stoplist, picture, drawing, scraps, etc. If I could match the name of the Church to an opus number I'd be thrilled. Thanks for your help. Now, off to the table!!!   Chris Malocheski   PS: I do have many pictures of the pipes,and one possibly of the interior of the church circa 1920, and think the CHurch is the Parish of the Most Holy Trinity in Brooklyn. One of the principals has "1883" scratched on the back with the name "Father May" (Parish Rector) on many pipes. The OPUS number would greatly enhance my search for information.