Michael Beattie at St. James' Episcopal Church, Oct 3, 2010
Beattie played an all-Bach organ recital after that satisfying and
peaceful marker for the transition from afternoon to evening known
as Choral Evensong. He opened with the dramatic Prelude & Fugue in
c minor (BWV 546), using a full sound - from 32' to mixtures - that
carried well the great chordal passages in the prelude. The fugue
used a well-balanced registration, with reeds providing contrast in
the middle section. Next was the ornamented setting (BWV 659) of the
Advent hymn "Nun komm der Heiden Heiland" ("Savior of the Nations,
Come"), played with sensitivity and polish. The Trio Sonata II in
c minor followed. The six trio sonatas are formatted for two manuals
(a separate one for each hand) and pedal. In the first movement
(Vivace) the right hand dominated the registration somewhat, and
in the middle movement (Largo) even moreso, with a solo treatment
that was smooth and appealing (the middle sections of the trios
sometimes seem boring, but not tonight!). The final movement was
handled in a democratic way with the two hands having sounds more
or less equal in volume but nevertheless contrasting, with the pedal
a further contrast because of its lower pitch. Bach's six trio
sonatas are notoriously difficult, probably the epitome of the
three-way independence of the two hands and the feet, but Beattie
made them sound easy. Then the Chorale Prelude BWV 622, "O Mensch
bewein dein Sünde gross" ("O man, bewail thy grievous sin")
was played with passion and grace. Finally the program closed with
the monumental "Passacaglia in c minor (BWV 582), also known as the
"Passacaglia and Fugue in c minor". This work is technically
demanding, and requires skill in expressiveness, both of which
were supplied in abundance. Beattie played flawlessly, and with
imagination. It would have been nice to have a better view of him
as he played. At a masterclass a year or so ago, Paul Jacobs
(some would say the reigning organ virtuoso in the U.S.) explained
that body language at the console was an important part of
communication between organist and audience, and I would have
liked to have seen more of Beattie than just the top of his head
(although just that much helped a lot). Finally we thank St. James'
church and their parish musician Don Messer for hosting this
event and providing excellent program notes.
- Glenn A. Gentry