David Higgs at St. Andrew's Episcopal Cathedral, Jan 28, 2011
This was David Higgs' second recital in Jackson, 10 years after
the first, in the AGO Regional Convention. Of his first program,
the review included this: "The music seemed to flow from his hands,
effortlessly and extremely expressive...This was, without question,
one of the best recitals of the convention" (Frank Laney, in The
Continuo). One might well now say the exact same thing, changing
only the three last words, to "...since the convention." Higgs
opened this program with the exuberant Variations de Concert, by
Joseph Bonnet, then 24 years old. Interestingly, in the third
variation, there was an extended pedal passage reminiscent of the
middle section of the 1st movement of Widor's Sixth Organ Symphony,
which, because it was composed five years before Bonnet was born,
very likely became familiar to him. The Variations de Concert was closed
by a big toccata, with some remarkable solo double pedal episodes.
The second piece was William Bolcom's gospel prelude on the familiar
"What A Friend We Have in Jesus", which coincidentally contained
several loud staccato chords with enough pause between to show off the
impressive reverberation in the cathedral, a result of a ceiling project
a few years ago, about the time when the organ was renovated into the
very flexible instrument it now is - fun to play as well as to hear.
The console had been moved from the side to the center of the chancel,
giving the audience a welcome view. Then Higgs played a favorite - Bach's
Prelude and Fugue in D major. The fugue in particular
is one of Bach's more athletic works, with the feet constantly dancing
lightly all over the pedal board, and a closing pedal cadenza that gave
a rousing climax to the already high level of excitement of the fugue.
Higgs commented that Bach had been influenced in his extraordinary
use of the pedals by his famous trip (200 miles by foot) to visit
Buxtehude in Lübeck, in north Germany, where the pedal division of
the organ had reached its peak, a feat rarely duplicated even today;
the pedal stops in north German organs were independent, numerous,
and at a variety of pitches, so that the feet could be used to play
melodies from bass to soprano.
The next piece, Sigfrid Karg-Elert's Harmonies du soir, provided
a pleasant contrast, and was colorful and relaxed. Lefébure-Wely's
Boléro de Concert followed, with a strong rhythm that continued
through various sections, from ff to pp to ff to mf to fff - a real
treat. Higgs closed the program with Duruflé's Suite for organ, Opus 5.
The first movement, Prélude, in Bb minor, was slow and subdued. It was
followed by the lively Sicilienne, an episodic piece whose mood
contrasted with Prelude, and closed with a stirring and acrobatic
Toccata that brought the audience to its feet. Higgs then provided
an encore, Schumann's Piece for Pedal Piano in d minor, rapid and
light and joyful.
Higgs did it again - charming the audience with his passion for
the music. His spoken comments - informal and at the same time
informative - were a further enhancement, and his playing was so
secure - everything was from memory - that he could attend to all
the subtleties that transform a mere performance into a rare and
glorious experience.
- Glenn A. Gentry