TIMOTHY ALBRECHT AT GALLOWAY MEMORIAL UNITED METHODIST CHURCH
SEPTEMBER 18, 1998

   The program opened with a brilliant rendition of the well-known
Widor Toccata (from the 5th Organ Symphony). Toward the end, after
the last statement of the melody in the pedals, there is a section
of final flourishes that sometimes drags, but not here! Albrecht
carried through with the same intensity and drive right through to
the end. Next came what to me was the high point of the evening -
Albrecht's hymn prelude on "Hymn to Joy", one of many hymn settings
collectively known as "Grace Notes". In today's popular culture one
often sees crowds respond with spontaneous applause when the performers
"crank up the volume" to painful levels. Thus it was all the more
remarkable - in fact almost unheard of - when Albrecht electrified the
audience while playing PIANISSIMO! The setting of "Hymn to Joy" was fast,
delicate, and magically attractive. It was also the first sign of
Albrecht's complete mastery of the concept of contrast. Next was a
major Bach work, the Prelude and Fugue in G (BWV541), also played with
a light touch. The registration also was lighter than usual, but with
good tonal contrast between the Prelude and the Fugue. Albrecht then
played another hymn setting, on "Jesus Loves Me". It was soft, slow,
and gentle (the hymn settings were termed "Gentle Grace Notes"). The
Bach Prelude and Fugue in e Minor (BWV 548, the "Wedge") followed,
and was big in sound and satisfying. Afterwards Albrecht played a
third hymn setting, "Softly and Tenderly Jesus Is Calling", soft,
slow, and meditative. An almost anatomical dissection was next, in
the form of comments about the Bach Toccata in F Major (BWV 540).
This piece is difficult enough when played (as some organists do)
without registrational change, but it really comes alive when played
as Albrecht did. In particular there are three related trio sections
(that is, one melody each for the right hand, left hand, and feet)
which - from their very structure - almost cry out for a different
registration. For the hands, a shift to another keyboard is easily
done, but the pedal registration must be changed when hands and feet
are otherwise occupied playing the notes. Albrecht accomplished the
change with such ease that only the desired effect was noticed. He also
used articulation in a subtle but consistent way to add a layer of
expressiveness that can only be done if the chore of playing the
notes is so mastered that it is almost automatic. The last "Gentle
Grace Note" followed, a setting of the hymn tune "Straf' mich nicht"
(also sometimes used for "Rise, My Soul, to Watch and Pray"). It
was more in the spirit of the first Grace Note ("Hymn to Joy") and
provided good contrast. The program closed with a Toccata by the
Norwegian composer Egil Hovlund, a big and exciting piece reminescent
of the Widor Toccata that provided, in Albrecht's words, the "other
bookend" for the program. Altogether Albrecht's playing featured
flawless technique, an extraordinary level of expressiveness, and
above all, a total understanding of the importance of contrast.
It was a memorable evening.
                                            - Glenn A. Gentry