Category: Jeffrey Tucker

Isabelle Demers played a recital last night at the Church of the Epiphany in Pittsburgh for the Sacred Music Colloquium XX. Her program was wide ranging, from Bach to Messiaen, but this PhD student at Julliard provided much more than a perfect performance; she brought to that technical perfection a rare spirit of adventure, daring, and deep conviction, seeming to manufacture whole worlds before our eyes and spiritual imaginations. It’s as if she took it upon herself to re-establish, this night and once and for all, that the organ remains today what it was in Machaut’s time: the reigning king of all instruments. She fully succeeded, prompting several spontaneous bursts of applause and an extended standing ovation at the end.

Here was her program.

1. J.S. Bach (1685-1750): Prelude in E♭ major BWV 552/1
2. Max Reger (1873-1916): Chorale-Preludes op. 67
   • 1: Allein Gott in der Höh sei Ehr
   • 5: Christus, der ist mein Leben
   • 2: Alles ist an Gottes Segen
   • 20: Jesus ist kommen, Grund ewiger Freude
   • 4: Aus meines Herzens Grunde
   • 39: Straf mich nicht in deinem Zorn
   • 42: Von Himmel hoch, da komm ich her
3. J.S. Bach (1685-1750): Fugue in E♭ major BWV 552/2
4. Siegfried Karg-Elert (1877-1933): Symphonic Chorale on “Jesu meine Freude”
   • Introduzione (Inferno)
   • Canzone
   • Fuga con Corale
5. Herbert Howells (1893-1982): Psalm-Prelude op. 32/2 “But the meek shall inherit the earth; and shall delight themselves in the abundance of peace.”
6. Olivier Messiaen (1910-1992): Dieu parmi nous

Any program that ends with Messiaen will always exists in a state of extended suspension and excitement for what awaits. His music has this astounding capacity to conjure up images and visions. His music has had presence at the colloquium over the last five or so years, given his status as the leading Catholic musician (and some would say theologian!) of the 20th century. The performance of Dieu parmi nous was indeed dazzling and, following the recital, listeners enjoy sharing their impressions.

A note on Isabelle: she is a delightful person, unassuming and personable in every way. She was there to greet people at the front entrance when people arrived and was downstairs after the concert to thank everyone for coming. It did not go unnoticed that she did not carry any sheet music at all with her to the loft. She was just one small-framed person alone who did all of this with a mighty instrument, her hands, her feet, her mind, and her heart.

Once again, please forgive my iPhone images. Here is the loft before the concert and the people gathered, awaiting the first notes.

And here she is following the recital, sitting with Wilko Brouwers and talking with attendees until late in the night.

I often find myself even more inspired by amateur performances than professional ones, but this recording is very special indeed. It is a group started by a seminarian in a tiny parish in Mississippi. They have only been together for one month. This is the third piece that they have sung at Mass. Their singing has brought new inspiration and life to the parish, with accolades pouring in. At first the pastor was reluctant but, seeing the effects, he is now fully on board with the program. It begins differently in every parish. This is one direction one can take. In most parishes today, there is no choral program at all, so this kind of effort amounts to flowers blooming in a desert. Absolutely thrilling. Have a listen.

One of the new faculty for the Sacred Music Colloquium for 2010 (it begins tonight!) is Fr. Mark Daniel Kirby of the Vultus Christi blog, and author of the wonderful article in Sacred Music, publish one year ago, on liturgical theology. We met up with him last night and enjoyed talking for several hours about nothing and everything. This image is from my iPhone.

These are wonderful sounds files recorded at the final Mass of the Chant Intensive, sung at Church of the Epiphany, Pittsburgh, Pennsylvania.

In recent days, I find myself constantly talking about The Christian West and Its Singers: The First Thousand Years. There can be no question that his account is seminal and, of course, deeply interesting to anyone who sings at liturgy or has an interest in Gregorian chant. I’m thrilled by the intense focus on the subject that I care about most deeply, so the book is a joy from the first to the last. It begins in the Apostolic period and goes all the way to Guido d’Arezzo. The production values are fantastic (thank you Yale University). My only complaint is that the book is so heavy that I could not bring it with my on travels so all I can do at the moment is look forward to getting back to my reading. I aspire, actually, to live blog the book in the Chant Cafe, chapter by chapter. Live blogging a book can be rigorous and draining but it is a wonderful way to learn. This book is certainly worth such a detailed treatment. Perhaps it will happen. In any case, you should get your own copies so we can discuss it in the comments box as we go along. The price is certainly right. I say again to Professor Page: your book is a marvel and you deserve profound congratulations on this monumental work.