MARILYN KEISER AT ST. ANDREW'S EPISCOPAL CATHEDRAL, JUNE 12, 2001

   Marilyn Keiser performed a splendid recital that took full advantage of the
versatility of St. Andrew's magnificent Aeolian-Skinner organ. Opening with
W1l1iam Henry Harris' resplendent Flourish for an Occasion, the audience
was immediately introduced to this organ's majestic, yet by no means harsh
or overpowering, tutti; as well as to Keiser's wonderfully musical style,
characterized by great power combined with sensitive grace. Two chorale
preludes by J.S. Bach followed; both are similar in that they are organ
transcriptions of instrumental pieces. The first, "Ach blieb bei uns,"
(BWV 649) from the Schuebler Chorales, was transcribed by Bach himself.
The second, "Ein feste Burg," is a transcription by twentieth-century
American composer Gerald Near of the central chorus from Bach's cantata of
the same name. Dr. Keiser gave "Ach blieb bei uns" an appropriately zesty
performance, with plenty of forward motion. Near's transcription of"Ein
feste Burg" is remarkably effective, and demonstrated to good effect the
clarity of this organ's plenum. Josef Rheinberger's "Introduction and
Passacaglia" from Sonata no. 8 in e Minor (Op. 132) is powerful music, and
St. Andrew's classically-conceived organ proved to be very much up to the
challenge, delivering a towering sound that rang through the length of the
Cathedral's nave. Quieter sections built to thundering passages on full
organ; at the climaxes, the immensity of the sound was almost overwhelming.
Three selections from Dan Locklair's suite Windows of Comfort, inspired by
the Tiffany windows of a Presbyterian church in Kansas, proved to be
complete foils to the Rheinberger. The first, "And call her blessed," was
lovely and lyrical. "...beside the still waters" was mystical,
capturing perfectly the image of its title. The final selection, "Alpha and
Omega," is a vibrant dance, concluding on full organ with a beautiful
melody recalled from earlier in the suite. Before
her performance of these pieces, Dr. Keiser read to the audience Lock1air's
detailed program notes - a much appreciated enhancement as these works are
full of symbolism and imagery. This is fine music, well-suited for recital
performance; these pieces would, however, heighten greatly the meaning and
depth of a service as well. Two movements from Louis Vierne's Pieces de
Fantasie, "Prelude" (from Op. 51) and "Impromptu" (Op. 54) followed. These
colorful, impish character-pieces came off admirably under Keiser's
command, and again demonstrated this organ's versatility. Concluding the
recital was Henri  Mulet's rousing Carillon-Sortie. Keiser made full
use of the organ's resources, showing off this piece's brilliance while
capturing well its more lyrical moments. The ending was especially
memorable; Keiser used the Trompette-en-Chamade register in the Cathedral's
west end, coupled to the main organ, for the concluding melody. The result
was tremendous, with the melody pealing out over the rapid ringing of the
bell-like accompaniment.

                                                       - Matthew Whitehouse

Marilyn Keiser was sponsored by members and friends of the
Jackson Chapter of the AGO.




.