ELIZABETH GUNNELLS SMITH and the MISSISSIPPI GIRLCHOIR, DIRECTED BY
LILLIAN LEE, AT FONDREN PRESBYTERIAN CHURCH, FEBRUARY 20, 2004

  This, the 18th Annual Choral-Organ Festival of the Jackson Chapter
of the American Guild of Organists, began with the Girlchoir singing
the "Laudamus Te" from Vivaldi's "Gloria" - a familiar piece that was
well done. Next was "Wir eilen mit schwachen" ("We hasten with weak
but diligent steps...") from J.S. Bach's Cantata #78, "Jesu, der du
meine Seele", for the 14th Sunday after Trinity. This duet - originally
for soprano and alto soloists, is one of the most compelling pieces
Bach wrote, and, as Schweitzer remarks, is at least as effective if
not moreso when done by a chorus. It thus is ideal for the Girlchoir,
who did it to perfection. Judy Foster provided a well-balanced
accompaniment; the Fondren organ sparkled here. Then the Girlchoir
sang Benjamin Britten's Missa Brevis in D, a not uncomplicated
piece, with a 7/8 meter in the "Gloria", accompanied by Elizabeth
Smith. Both the Girlchoir and organist Smith brought a high degree
of skill to this work, which was both effective and enjoyable.
Donald Patriquin's arrangement of the spiritual Deep River was
then sung by the Girlchoir, with accompaniment by cellist Janet
Sudderth. The Girlchoir closed its part of the program with
James Sclater's Harpsongs, accompanied by the Capital Brass.
Harpsongs, commissioned by the Girlchoir, is based on four hymns
from the Sacred Harp repertoire. One of the challenges in this
particular piece is with balance; any one of the brass would
have been able to overpower the Girlchoir, but that didn't
happen, partly because for much of the work the brass and choir
alternated. The writing was idiomatic for all participants and
the effect powerful. The Girlchoir is to be congratulated both
for commissioning this work and for giving it a wonderful
performance.

     Elizabeth Smith then played a group of organ works by
English composers, beginning with a Trumpet Voluntary by John
Bennett (1735-1784), a popular form at the time. C. Hubert Parry's
Elegy followed; Parry (1848-1918) is probably best known for the tune
Jerusalem, featured in the movie Chariots of Fire. Then Smith played
A Dirge for Funerals by a Miss Steemson, one of the very few female
British composers before the 19th century. Ethel Smythe's chorale
preludes "O Thou Fair Earth" - with trumpet and tremolo - and "On Earth
Has Dawned This Day of Days" - a polyphonic piece - were next.
Herbert Howells' Master Tallis' Testament followed. Smith then
played three pieces by Peter Hurford, including Song 14 (The
Angel's Song), Glory to Jesus, and Dialogue No. 1. Although
Hurford is probably better known as an organist, his skill as a
composer was made obvious; these works were very well crafted and
reminescent of Bach's work, at least in structure. The program
closed with a rousing performance of Nigel Ogden's England's Glory.
Smith's choice of music was inspired - while some of the composers
were familiar, none of the selections were. Yet they were both
interesting and entertaining. Smith played with skill and
sensitivity, both in the Britten Mass and in the organ recital.
She has an excellent ear and obviously listens carefully to what
she plays and to how it sounds. Her registrations were perfect for
each piece, and that is saying a lot, because while the Fondren organ
with its bright stops is a natural for Bach, it is somewhat more
complicated to get suitable sounds for the 19th century from it.

   I thank Director Lillian Lee, Assistant Director Andrea Coleman,
the Girlchoir, Judy Foster, Janette Sudderth, the Capital Brass,
composer James Sclater and organist Elizabeth Smith for a delightful
musical evening, which will be long remembered.

                                                     - Glenn A. Gentry