mas Nightingale”) in neo-classical style. These pieces, in particular the last two, would be especially effective if paired with one of the many available settings of these carols; all of them breathe the spirit of Christ- mas and should be more widely known.
JANET LINKER: Three Epiphany Pieces. Beckenhorst Press OC30. $10.95. These pieces are identified as “arranged by” Janet Linker, but they are in fact original composi- tions based on familiar Epiphany carols. There is first a prelude on “Brightest and Best,” which gives the tune a vigorous treat- ment interspersed with a more lyrical one; it is well crafted and
effective.Anice treatment of “We Three Kings” follows, with some in- teresting rhythmic twists that add energy. Fi- nally, there is a treatment of “Dix” that fea- tures sturdy trumpet fanfares. The technique required throughout is easy to intermediate; the pieces would make a nice set for an organ student or for an extended Epiphany pre- lude. A Lessons and Carols service could also make use of them ashymnintroductions or voluntaries.
JONATHAN B. HALL RECORDINGS
CHERRYRHODES. . . LIVE. III/60 Berghaus organ (2006) of Queen of all Saints Basilica, Chicago, Ill. ProOrganoCD7231. Proorgano. com. One of America’s eminent recitalists and teachers, organist Cherry Rhodes needs no introduction to many readers of this jour- nal. In her concert of July 7, 2006, which was recorded live, she was in fine form, demon- strating her elegant, refined, masterful style with its technical brilliance matched by exquisite artistry. Her program featured sev- eral of her “signature” works that demon- strate the diverse capabilities of the fine in- strument at Queen of All Saints Basilica: J.S. Bach’s monumental Prelude and Fugue in E Minor, BWV 548, the colorful 4 piezas para la Misa of José Lidón, the harmonically rich Méditation by Gabriel Dupont, Clarence Mader’s roguish Afternoon of a Toad, André Fleury’s attractive, stylistically diverse Variations sur un Noël bourguignon, Jean Guillou’s prickly transcription of Mozart’s Adagio and Fugue in C Minor, and James F. Hopkins’s evocative Metopes, featuring two movements inspired by mythological stories connected by an interlude for solo pedal. Rhodes’s scintillating performance of Eu- gène Gigout’s fiery Toccata in B Minor con- cludes the program. The Berghaus organ transmits all of this music with authority and authentic style. Its voicing is incisive yet warm, well balanced in all tonal depart- ments, with plenty of color and dynamic range. The acoustic is gratifying without be- ing excessively reverberant. Here is an op- portunity to experience one of our finest per- formersplaying amagnificentnewinstrument.
THE LAST SCHNITGER ORGAN. Elizabeth Harrison, organist. II/24 Frans Caspar Schnitger Jr. and Heinrich Hermann Frey- tag organ of Magnuskirche, Bellingwolde (Groningen Province), The Netherlands (1796–97; restored by Petrus van Oeckelen& Sons, 1891; alterations by N.V.P. van Dam, 1931; restoration and reconstruction to orig- inal specification by A. de Graaf, 1991–92).
AUGUST 2013 69
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