Thomas Murray at 1st Baptist Church, Jackson, MS, March 9, 2006
Thomas Murray, consummate artist, played a remarkable program on
the remarkable Quimby organ at the First Baptist Church. The organ -
with 155 ranks, one of perhaps the ten largest organs in the U.S. -
has resources to burn, and Murray used them all to great effect. He
opened the recital with his own transcription of Mendelssohn's
Prelude and Fugue in E (originally for piano). While the prelude
was somewhat subdued, the fugue was bold at the start and bolder
still at the end. Next was Bach's transcription for organ of
Vivaldi's Concerto Grosso in D. While the Quimby organ is symphonic
in nature, it was more than adequate; the Bach came through with
its usual emotional impact. By now the audience was well aware of
the antiphonal section of the organ, in the back. Murray used it
frequently but always musically, whether with softer stops or the
commanding trompette-en-chamade. Edward Lemare was a celebrated
organist at the turn of the 19th century, noted for his numerous
transcriptions of orchestral and other works for organ, and the
next pieces, from Grieg's Peer Gynt Suite, were transcribed by him.
Morning was accompanied by increased lighting, Anitra's
Dance was very much in character, and In the Hall of the
Mountain King was as dark as one might imagine. Great fun! John Cook's
Fanfare closed the first part of the program, with dramatic use of the main and the antiphonal trumpets.
Seth Bingham's Roulade, with abundant chromatic runs, opened
the second part of the program, and was in contrast to the last
piece, Guilmant's monumental Sonata #1, Opus 42. The Introduction
and Allegro were powerful and featured an extensive pedal solo.
The Pastorale included a pleasant duet between the clarinet and
oboe stops, and the Final was a toccata that brought the audience
to its feet at the end. A charming encore, Maria Theresa von Paradis'
Sicilienne, closed the program.
Thomas Murray is surely one of the most expressive organ players
alive. This implies a level of technique and confidence that allows
his full attention to be placed on matters of dynamics, tempo, and
registration. Indeed at one point in the Guilmant his left hand and
feet were playing fast and furiously, but as if on automatic pilot,
because his right hand and his gaze were occupied with pulling stops.
From another perspective, his use of full organ was limited, as it
should be. Many of the works were no louder than mf. It is all too
common, especially in the popular arena, for the sound level to be
dangerously high for extended periods of time. A crescendo does
provide musical excitement, but when the maximum has been reached
it must not be prolonged too much else the possibility of further
excitement is lost. Murray clearly held this idea central to his
playing - further evidence of his expressiveness. This was a night
to remember.
- Glenn A. Gentry