JEFF McLELLAND AT MISSISSIPPI COLLEGE PROVINE CHAPEL, OCTOBER 14, 1997

  This was McLelland's second recital in little more than a month. I am
reminded of my fiddle-playing grandfather, of whom it was said he could
"play all night and never play the same tune twice." So it was with
McLelland - there were no repeats from his September 4 program. He 
opened with the Dupre Prelude and Fugue in g minor, Opus 7. It was
fast, light, and sounded easy (though we know it is not!) This is the
fugue with the mnemonic "Marcel Dupre, Marcel Dupre, the Hell you say,
the Hell you say!" The next piece, the J.S. Bach chorale prelude on
"Schmucke dich" B.W.V. 654, provided contrast and beauty, with the
cantus firmus played in a singing manner. More contrast followed with
the J.S. Bach Trio Sonata in G Major, B.W.V. 530. It was played with
a bold registration, consistent articulation (known as phrasing to an
older generation), and, like the Dupre, sounded "easy", which, like
the Dupre, it is not. In fact the six Bach trio sonatas are among the
most difficult of his organ works. The Mendelssohn Sonata in c minor,
Op. 65 No. 2, was then played with a flourish. Next were the Samuel
Barber "Variations on a Shaped-Note Hymn: Wondrous Love." These included
a chorale, and contrapuntal variations with the cantus firmus in various
voices. This part of the program concluded with "Entourage", by Thomas
H.B. Slawson, an organ student of McLelland's and a composition student
of James Sclater. This was a very effective piece, that began with
minimalist elements, proceeded to a meditative middle section, and 
returned to the initial material which then evolved into an exciting
toccata. I would very much like to hear this piece again.

   The program closed with P.D.Q. Bach's "Poeckelbuechlein" (Little Pickle
Book) for organ, at least. The movements were

   1) Toccata et Fuga Obnoxia, with inverted (perverted?) themes from
P.D.Q.'s father's  more famous Toccata and Fugue in d Minor (a.k.a. "The
Phantom of the Opera");
   2) Chorale Prelude on "Ave Maria" et "Agnus Dei" (very approximately
translated as "Mary [Maria] had a little lamb [Agnus]");
   3) Fantasia sopra "Fraulein Maria Mack"; and
   4) Lullaby and Good Night.
   Assisting were Richard Joiner [virtuoso tuba & baritone];
                  Carol Joy Sparkman [tin whistle];
                  Bonnie Blu [kazoo];
                  Barbara Kinsey [director of congregational singing]
                  Casey Kirk [percussion]
                  Michael Rushing [percussion].

   The Vienna Boys Choir had been booked for this performance but 
inexplicably failed to show. It didn't matter. They would have been
overshadowed anyway, if not outnumbered. A good time was had by all!

                                           - Glenn A. Gentry