JOBY BELL AT ST. ANDREW'S EPISCOPAL CATHEDRAL, JANUARY 21, 2005

   Dr. Bell opened the recital with a transcription of Sibelius'
familiar Finlandia, in this reincarnation an exciting work, in
which the antiphonal Trompette-en-Chamade provided the electricity
normally supplied by the tympani. The familiar chorale section (on
which the hymn "Be Still My Soul" is based) had - in contrast - a
mellow and pleasing sound. This was followed by J.S. Bach's
 Prelude and Fugue in G (BWV 541), a lively piece with a
transparent registration and a consistent articulation. In the
traditional manner the reeds were used mainly in the pedal passages,
and the whole was made to sound easy (which it is not!) Next were
three pieces by Joseph Jongen: Petit Prelude (Aria) W. 319,
Scherzetto (Op. 108 No. 1) and Choral, Op. 37 No. 4.
These employed varied registrations, with a grand buildup (in the
Choral) to fff. Bell then played works by contemporary
composers: Len D. Bobo's Improvisations on "Praise to the Lord
the Almighty" (Lobe den Herren), and on "Praise to the Living God"
(Yigdal), and Toccata. All three were exciting and powerful,
and played with enthusiasm (Bobo is a Mississipian and currently
teaches at East Central Community College in Decatur); and three
pieces by Danial Gawthrop: Caprice, Chorale, and Toccata Brevis.
These Gawthrop pieces contrasted with each other, ranging from
'sparkling' to 'mellow' to a big toccata with the cantus firmus in
the pedal. Widor's Adagio from the 5th Organ Symphony
followed, and showed off a wonderful flute stop in the organ.
The program closed with Durufle's epic Prelude and Fugue on
the Name "Alain", which was given an epic performance. One
of my criteria for an "epic" performance is that it gives me a
new hearing of the piece, and this one did just that, making it
my favorite of the evening. 

   Because this was the first concert on the newly restored and
enhanced organ at St. Andrew's, a few comments are called for. First,
the Aeolian-Skinner has been restored, the pipes revoiced, and a
new console provided from the Allen Organ Co., a leading builder
of electronic organs, all via David Finch. That purchase allowed
the addition of a number of electronic stops. These additions permit
some additional flexibility; probably the most important of which
allows the source of sound for support of congregational singing to 
come both from the rear of the nave (electronic) as well as the front
(pipes). In a recital such as this one it is impossible to compare 
the quality of sound of the pipes and the electronics (unless you are
the organist!) There is one exception, however, in the 32' stops:
(in pipes these would be 32' long for the most part and beyond
the financial and spatial resources for most churches, but 
relatively inexpensive for electronic organs) there was a clear
advantage. The most important enhancement, however, to the
organ was in the hardening of the ceiling in the chancel area
and partway back. The transformation of the acoustics is almost
unbelievable! A further hardening of the rear ceiling is planned.
It has been said that the single most expensive stop on an organ
is the room in which it plays; for "indoor" instruments the
quality of the acoustics can make or break the music. That is
why, of instruments played outdoors - with the possible exception
of the bagpipes and the bugle, the acoustic environment tends
to render them impotent (this also means that bagpipes especially
can be very aggressive indoors!) Congratulations to John Paul and 
to the Cathedral on this accomplishment!

                                        - Glenn A. Gentry