Michael Beattie at St. James' Episcopal Church, February 4, 2007
(and Choral Evensong with Donald Messer)
Beattie began his organ recital with the Fanfare from Suite No. 1
by 20th century composer Calvin Hampton, which
showed off to great effect the reed stops on the Steiner-Reck organ.
Though decidedly 20th century in style, Hampton's music is quite
accessible. It was a good opening. Next was Hindemith's Sonata No. 1
(1937), somewhat less accessible. Because of this, Beattie
took the time to demonstrate the themes and structure of the
piece, using the MIDI feature (a playback device) on the organ. This
was of great benefit. Over the years I have noticed that this level
of attention to introducing music that might otherwise be difficult
for the listener is always helpful, and so it was in this case.
Beattie then played the Andante Sostenuto from Widor's Gothic
Symphony (for organ), with its rich harmonic texture. He closed the
program with Franck's monumental A-minor Chorale, played with
vitality and sensitivity, and ending in a blaze of glory.
As a closet Episcopalian for more than fifty years, I cannot
let pass this chance to comment on Choral Evensong (which preceded
the recital), with Donald Messer, host organist, and the St. James'
Choir. There was abundant music here, including a Liturgical
Improvisation by George Oldroyd (1887-1956). As a composer, Oldroyd
was quite obviously very comfortable at the organ, and I was glad to
hear this work, because I think Oldroyd has been neglected, to our
loss. Other works - both choral and organ - were by Charles
Villiers Stanford (1852-1924), and some of the choral liturgy used
settings by William Byrd. The anthem "Now We Are Come to Eventide",
by David McKay Williams, sung a capella, was a treat. Messer
used the organ - beautiful to the eye as well as to the ear - in a
highly effective manner.
My thanks to Michael Beattie, Donald Messer, and the St. James'
Choir, for a rewarding early evening event.
- Glenn A. Gentry