Judy Sclater, Organist, at St. Andrew's Episcopal Cathedral,
November 12, 2006
The program opened with J.S. Bach's Toccata and Fugue in
d minor (BWV 565), sometimes subtitled irreverently "The Phantom of
the Opera" and probably the best known of Bach's organ works. The
fugue is one of those known as "instrumental" fugues, based on a
theme that would be typical of a violin or other instrument that
did not need periodic breaths. In contrast a vocal fugue uses a theme
that might be sung; an example is the first part of Bach's St. Anne
Fugue (BWV 552), which uses the hymn tune of the same name as its
opening theme. Sclater played clearly and with appropriate registration
including shifts between the keyboards. The eminent Bach scholar
Walter Emery once wrote that most of Bach's larger organ works could
satisfactorily be played on a single manual without changes, but he
considered this piece an exception. Next was Bach's chorale prelude
Ich ruf zu dir (BWV 639), played lyrically. Ernst Pepping's
Komm, Gott Schöpfer, heil'ger Geist, a rousing 20th century
piece, followed, with a rich registration. Then came Bach's chorale
prelude In dir ist Freude (BWV 651), played with a light and
charming registration using the flutes, a welcome change from the
principal chorus more often heard. In great contrast, Calvin Taylor's
Go Down, Moses, was played with a rich and warm and slow
moving sound, with a tenor solo on a large reed. Emma Lou Diemer's
Holy Spirit, Lord of Love provided further contrast, with
strings and celestes, and melody on a slightly percussive flute
stop. The program ended with Jean Langlais' Hymne d'Actions
de graces "Te Deum", an exciting piece with some sections
reminiscent of call and response, between unison passages on a
dark reed sound and ff passages in reply, leading eventually
to a big and dramatic close. All in all this was a well-planned and
well-executed program with lots of contrasts and excitement.
- Glenn A. Gentry