A review of a concert that "makes you sorry you missed it" :-[
http://www.examiner.com/performing-arts-in-washington-dc/fisk-organist-performs-remarkable-recital-at-the-washington-national-cathedral-review (http://www.examiner.com/performing-arts-in-washington-dc/fisk-organist-performs-remarkable-recital-at-the-washington-national-cathedral-review)
QuoteWhether it is the angelic voice of a boy chorister or the glorious majesty of the pipe organ, the Washington National Cathedral seems to wonderfully cultivate new musical discoveries. Though organ recitalist Anthony Williams has performed at the cathedral before, his program was one that was musically thrilling and historically informing. Williams is Associate Professor of Music and University Organist at Fisk University. After a warm introduction from Cathedral Organist Scott Dettra, Williams entered to nice audience gathered on both sides of the choir eager to hear the ambitious program. Among the attendees at the recital were Fisk University alumnae, Maryann Rozzell '57 and Gwendolyn Pla '61.
Samuel Coleridge-Taylor's Impromptu in F Major, Op. 78, was a wonderful discovery for the audience. The piece was played by Williams in a sprightly tempo, marked by a lovely diminuendo. Generally a reflective piece, the work with a hint of repetition moved towards a rousing climax. Leo Sowerby's setting of "Were You There" allowed Williams to show of the intimate sonorities of the powerful instrument. The dissonant harmonies reinforced the text of the timeless melody to stunning effect. Williams breathed such life into the work, building the organ at each phrase as if the organ itself was asking the listener the probing question of the spiritual.
QuoteIt was wonderful hear seldom heard concert organ works of African American composers given a significant platform in such a notable performance space as the Washington National Cathedral. Three Pieces for Organ by Mark Fax presented the audience with wonderful hues of compositional style. 'Chant' was marked by dense harmonies in the accompaniment, with a primitive melody soloed out with a bold reed stop on the organ. 'Allegretto' was a bright,lilting movement with a joyful appeal. Closing the set was the bold 'Toccata' in which Williams executed the piece brilliantly, characterized by lightening fast passagework and syncopated rhythms. The flashy work proved to be a delight to the appreciative audience.
Choral en Si mineur by César Franck captured the full essence of Williams' gifts at the organ. From a somber beginning to a soaring forte, Williams made use of the full resources at the magnificent instrument. A thrilling moment was a noticeable cadence in which at the release, the listener was greeted by the reverb of the cathedral. Closing the recital was the timeless Carillon de Westminster, Op. 54 by Louis Vierne. Williams recalled the full power of the magnificent organ, bringing the recital to a rousing end.
Eric
KB7DQH