Kipp Gill at St. Peter Catholic Cathedral, February 21, 2019.

Gill began with Praeludium in C Major, by Georg Böhm(1661-1733), one of a few composers who were credited with having been a major influence on J.S. Bach. It was expressive, with many florid passages, and played with enthusiasm and attention to articulation (which would have been referred to as "phrasing" in an earlier generation).

Next was J.S. Bach's (1685-1750) Sonata 6 in G Major (BWV 530), one of the six trio sonatas intended by Bach to be exercises for his sons. They all are difficult, and as a result not often heard in their entirety in recitals, but are brilliant. Each includes three movements (fast/slow/fast) with a single line for each hand and one for the feet. In the fast movements there is much imitation among the three lines, while in the slow movements the right hand line is often presented as a solo - as it was in this performance, and the left hand line was perhaps a bit more subdued than it might have been. Nevertheless the overall effect Gill achieved was astonishingly good. It was for me the high point of the evening.

Mendelssohn's (1809-1847) Sonata in F Minor Op. 65 No. 1 followed, about 100 years after Bach; Mendelssohn is credited with having revived interest in Bach's organ music and having composed several important organ sonatas of his own. In the F minor Sonata there are 4 pieces as follows:
I. Allegro moderato e serioso - with intermanual contrasts;
II. Adagio - a familar opening in the tenor octave;
III. Andante recitativo - with a bell-like opening;
IV. Allegro assai vivace - dramatic, with a long crescendo achieved
by adding stops all the way to full organ at the end.

The Andante sostenuto from Charles-Marie Widor (1844-1937) was next, with big flute sounds, and relatively slow. It provided - in a sense - the calm before the storm of the final piece, the Finale from the Sunday Music of Petr Eben (1929-2007). This began with bubbly passages (I don't recall ever having used that term in a review before but it is the best fit for what I heard) in the tenor octave, then arpeggios, then big chords, then "pulses" in the pedals, all with considerable dissonance but nevertheless tonal. The effect was of an extended collage, and toward the end got bigger but somewhat more tonal and melodic, with all dissonance removed from the final chord.

Here is a quote from a review of Gill's senior recital at MS College in 2016:
"Kipp Gill at MS College's Provine Chapel, Sunday, April 24, 2016
Gill opened the program with excitement - the Allegro from Widor's 6th organ symphony. This is a bold piece, and within it is a notoriously difficult rhythmic passage - an extended set of 2 against 3 (pedal and left hand, vs the right hand), and Gill's apparently effortless trip through it provided the first of several high points in the evening."

Tonight's performance fulfilled all of my expectations of Gill, based on his 2016 recital, and I look forward to hearing him again. Soon!

Glenn A. Gentry

Kipp Gill Biography

Kipp Gill is an organist, pianist. choir director, and piano instructor originally from Red Banks, MS. He received a B. Mus. from MS College and is currently a graduate student in Organ Performance at Mercer University. He serves as Choirmaster at All Saints Episcopal Church in Warner Robins, GA. He has performed as a soloist in Illinois, Washington DC, Mississippi, Georgia, & Tennessee. His most recent concert was at Blue Mountain College in Blue Mountain, MS. He enjoys teaching several piano students of varying levels and ages. Kipp and his wife Ruthie currently reside in Macon, GA, with their two dogs Miko and Elvis. In their free time they enjoy exploring all that Atlanta has to offer and experiencing many of the parks located throughout Georgia. His next performance will be his masters recital at Christ Episcopal Church on March 26, 2019, in Macon, GA.