Tag Archives: recital

Why Isn’t The Meyerson’s World-Class Organ Played More Often?

By Bill Zeeble

Mary Preston, the Dallas Symphony's resident organist for the past 20 years, hopes that the organ gets put to use more often.

Mary Preston, the Dallas Symphony’s resident organist for the past 20 years, hopes that the organ gets put to use more often.

Critics say the organ inside the Meyerson Symphony Center is one of the greatest. In this installment of Secrets of the Meyerson, from KERA’s Art&Seek, we explore why the organ, a unique Dallas asset, is not used as much as many might wish.

The Lay Family organ made its debut in 1992, three years after the Meyerson opened. Camille Saint-Saens’ Organ Symphony No. 3 capped the inaugural concert. It’s the rare classical work that almost perfectly marries the organ and the orchestra. And, on that night, Dallas heard a new instrument almost perfectly matched to its home.

“The Lay Family Organ at the Meyerson Center is one of the great organs of the world without question, in one of the great halls,” says Michael Barone. He knows. He’s host of the award-winning radio show Pipedreams. “What makes the hall wonderful is that its acoustics are adjustable, and can be made quite extravagant. And when opened up to the full, the resonance chambers really do make quite a splash of sound.”

That resonance thrills audiences and makes the organ sound like it’s been lifted out of a grand European Cathedral, says Scott Cantrell, a critic with The Dallas Morning News. “The more reverberation there is, the more they like it. So in a solo recital you can open up all those reverb chambers and get this incredible swim of sound there, although it never gets muddy.”

The Dallas Symphony’s organist Mary Preston praises builder C.B. Fisk for that accomplishment.

“This is a glorious instrument because each of the stops is very pure. Each of the sounds of the ranks of pipes are very pure in and of themselves,” she says. Preston has played with the DSO for 20 years. “Some organs, in order to get a pretty sound, you need to pull out a whole bunch of stops, meaning engage a whole rank of pipes. On this instrument, it’s not so. This instrument has beautiful sounds – each and every one of them.”

Purity comes from the pipes, she says. You can see 70 of them in the hall.

The rest, says retired DSO vice president Mark Melson, are hidden in back, up some skinny steps.

“We’re in the organ loft behind the organ console and the organ pipes. There are over 4,000 pipes. They’re crammed into this six-foot-deep space,” he points out.

The smallest pipe is about an inch long. The 32-foot tallest pipe is so big a person can stand up inside it. It can play a note a full octave below anything the orchestra can.

“Even when you don’t quite hear it, there’s just this low rumble that’s not so much a pitch but an experience,” describes Michael Barone. “When the full organ is going, when you pull on the big 32-foot Bombard, it’s not just the sound. It’s the ‘wow’ impact of the sound vibrating your whole body.”

That leaves fans and musicians like Mary Preston with a desire seemingly as big as the instrument.

“It would be wonderful if we could play it more,” Preston says.

Cantrell, the critic with The Dallas Morning News, is a little more emphatic.

“People want to hear this instrument,” Cantrell said. “There it is. It’s right at the front of the hall. It’s an enormous presence. People often ask me does it ever get used? And I have to say, well, almost never.”

There was an international organ competition. Launched in the ’90s, three were held, then its top champions retired or moved away. An ailing economy helped kill it.

But some of that’s about to change.

The orchestra plans to program more selections that include the organ. And this coming season, the symphony will re-launch an organ recital series. Jonathan Martin, DSO president and CEO, says it will include three concerts with international soloists.

He says: “You know, we’ve got this great car in the driveway and we need to take it out and drive it more.”

Barone believes the effort will pay off once people open up to this monster that Mozart called the King of Instruments, and realize the organ, which predates Christianity, isn’t just for church.

“It is the most complicated of musical instruments and yet to be able to make it sing, to make it touch your heart, to be able to create emotions with this machine is quite magical,” Barone said.

Dallas audiences next get a chance to hear if it’s magic for them, this Thursday.


You can watch a performance of the Finale from Mendelssohn’s Organ Sonata No. 1 by the Dallas Symphony’s resident organist, Mary Preston below.

Source: keranews.org

Playing by Heart, With or Without a Score

By Anthony Tommasini

It would seem that the filmmaker Michael Haneke, who wrote and directed the wrenching and poignantly acted new French movie “Amour,” is swept away by the mystique of a pianist, alone onstage, conveying mastery and utter oneness with music by playing a great piece from memory. The drama of playing from memory is at the crux of a scene involving the elegant French pianist Alexandre Tharaud, who, portraying himself, has a small but crucial role.

Alexandre Tharaud performing, with a score, at Le Poisson Rouge.

Alexandre Tharaud performing, with a score, at Le Poisson Rouge.

The story revolves around an elderly Parisian couple, Georges and Anne, retired music teachers, as they cope with the stroke that has paralyzed Anne’s right side. In one scene Mr. Tharaud, in the role of a former student of Anne’s who has gone on to a significant career, makes an unannounced visit to his old teacher to see how she is faring. He can barely contain his shock at her condition. Anne (Emmanuelle Riva) asks a favor: Would Alexandre play a piece she made him learn when he was 12? It is Beethoven’s Bagatelle in G minor, the second of the Six Bagatelles (Op. 126), Beethoven’s last published piano work.

At first Mr. Tharaud demurs. He has not played the piece for years, he explains, and is not sure he can remember it. Then, saying he will try, he proceeds to play the stormy bagatelle flawlessly, at least as much as we hear before the film cuts to the next scene. I suppose it would have been too pedestrian a touch if, when Alexandre said he was not sure he could remember the bagatelle, Anne had said, “Oh, I have the score, of course, right there on the shelf.”

Over the years I have observed that the rigid protocol in classical music whereby solo performers, especially pianists, are expected to play from memory seems finally, thank goodness, to be loosening its hold. What matters, or should matter, is the quality of the music making, not the means by which an artist renders a fine performance.

Increasingly, major pianists like Peter Serkin and Olli Mustonen have sometimes chosen to play a solo work using the printed score. The pianist Gilbert Kalish, best known as an exemplary chamber music performer and champion of contemporary music, has long played all repertory, including solo pieces (Haydn sonatas, Brahms intermezzos), using scores. As a faculty member of the excellent music department at Stony Brook University, Mr. Kalish spearheaded a change in the degree requirements in the 1980s, so that student pianists could play any work in their official recitals, from memory or not, whichever resulted in the best, most confident performance.

Yet there is still widespread and, to me, surprising, adherence in the field to the protocol of playing solo repertory from memory. This season Mr. Tharaud took a little flak for performing recitals in New York using printed scores.

In October at the Greenwich Village music club Le Poisson Rouge he played excerpts from his delightful new Virgin Classics recording “Le Boeuf sur le Toit,” taken from the name of the club that became a haven for Parisian cabaret during the Jazz Age. The next night Mr. Tharaud played a standard program at Weill Recital Hall with works by Scarlatti, Ravel, Chopin and Liszt. At each concert, rather than performing from memory, he used scores, something that Steve Smith, who reviewed Mr. Tharaud’s Weill recital for The New York Times, did not even mention. It was not worth commenting on. The news, as Mr. Smith made clear, was Mr. Tharaud’s absorbing and mercurial performances.

Yet the photo of Mr. Tharaud that accompanied the review clearly showed him playing from a score, and some readers were quick to react on social media. Somehow the idea persists that for a pianist to use a score in a performance suggests a lack of mastery or sufficient preparation.

Not necessarily. Though it is exciting and even magical to see a pianist giving a triumphant performance of the demonically difficult Liszt Piano Sonata, or any work, from memory, there are different kinds of talents. The towering Russian pianist Sviatoslav Richter, by the time he reached his 60s, found it increasingly hard to play from memory. He started using scores in performances. No one questioned him. This was, after all, Richter, a titan of the keyboard. Yet if a Juilliard student can give brilliant and personal accounts of works like Elliott Carter’s daunting Piano Sonata or Chopin’s 24 Preludes but needs the scores on the music stand to do so, why should that matter?

The superb pianist Stephen Hough, in an article in The Telegraph of London last year, presented both sides of the case well. As he pointed out, it goes against history to perform works of early eras from memory. It was only when Liszt, partly out of showmanship, began playing everything, including monumental Beethoven sonatas, from memory that the mystique took hold.

In earlier eras there was composed music, which was always played from the score, and there was improvised music. Since performers were almost always composers as well, as Mr. Hough explained, for a pianist to play, say, a Chopin ballade from memory would have been considered the height of arrogance, as if the pianist were suggesting that he had composed the piece.

At major performing institutions attitudes toward playing from memory have opened up. Today the artistic staff at Carnegie Hall would never think of compelling any artist to play from memory. This is a personal artistic choice. But organizations that foster student musicians still mostly insist on standard protocols. Young Concert Artists, which presents exceptional emerging artists in concert, hews to standard practice for its competitive auditions. The requirements state: “Concertos and solo repertoire for all instruments and voice must be performed by memory. Scores may be used only in chamber music, sonatas with accompaniment and contemporary works.”

It has always amused me that contemporary music is exempted from the memorization requirement. I think some pianists might find the Ligeti études, which are so technically challenging that by the time you learn them you usually know them cold, a lot easier to play from memory than Bach’s “Goldberg” Variations.

Andras Schiff at the 92nd Street Y.

Andras Schiff at the 92nd Street Y.

This fall, in two programs just five days apart at the 92nd Street Y, the pianist Andras Schiff played Bach’s complete “Well-Tempered Clavier,” all 48 preludes and fugues, containing some of the most intricate contrapuntal music ever written. He played both recitals from memory, an astonishing achievement.

Yet Mr. Schiff, a masterly Bach interpreter, has played this music for 50 years, since his childhood. In interviews he has said that playing from memory is not the hardest part for him in performing Bach’s keyboard works, and I believe him.

Emanuel Ax playing with musicians from the New York Philharmonic.

Emanuel Ax playing with musicians from the New York Philharmonic.

Around the same time at Alice Tully Hall, as part of Lincoln Center’s White Light Festival, the pianist Emanuel Ax took part in an intriguing program, whose main work was Schoenberg’s arrangement (later completed by the composer Rainer Riehn) of Mahler’s “Lied von der Erde” for chamber ensemble, played by members of the New York Philharmonic with Mr. Ax at the piano. But he set the mood by opening the program with two solo works: Bach’s Prelude and Fugue No. 8 from “The Well-Tempered Clavier,” Book 1; and Schoenberg’s Six Little Piano Pieces (Op. 19). He played the Bach work using the printed score and the Schoenberg from memory.

Now no one who has heard Mr. Ax over the years could possibly think he has any difficulty playing anything from memory. But this was a collaborative program. It was inspiring to see Mr. Ax taking part as just one of 15 dedicated players in the arrangement of “Das Lied.” So beginning the program with the pensive Bach work was a musical gesture, not a time to showcase memorization.

For me there was something touching about seeing a great pianist play a Bach prelude and fugue using the score. Every wondrous element of this complex music is right on the page. It looks almost as beautiful as it sounds.

Source: nytimes.com

Organ Recital

I just wanted to say a big word of thanks and appreciation to those who came to my recital on Monday, January 9th. In case you missed it, I plan on recording the recital some time in the near future and releasing it on CD. (I will also likely upload one or two of the pieces on here, so check back soon for more information!)

A huge thanks to my dear friend Beth Richards for taking this picture!

Here is the program:

  • J. S. Bach: Fantasia and Fugue in G Minor, BWV 542
  • John Stanley: Voluntary No. 5 in D Major
  • Felix Mendelssohn: Sonata II in C Minor
  • Sigfrid Karg-Elert: II. Clair de Lune (Trois Impressions, Op. 72)
  • Joseph Jongen: Sonata Eroïca, Op. 94

For information about upcoming organ events, please regularly check the organ page!