[reprinted with great sadness from Lucid Culture]
John Scott, one of this era’s most extraordinary and beloved talents in both classical and sacred music, died suddenly on August 12 in Manhattan after suffering a heart attack. He was 59. The iconic organist and choirmaster had just completed a six-week concert tour of Europe and Scandinavia. He leaves behind his wife Lily and her unborn child, as well as two children from a previous marriage.
Scott was the rare artist whose virtuosity was matched by an intuitive, almost supernatural ability to channel a piece of music’s emotional content. If you want to understand Mendelssohn’s relentless drive, Messiaen’s awestruck mysticism or Bach’s neuron-expanding wit, listen to a recording by John Scott. It’s impossible to imagine a better or more emotionally attuned interpretation of Mendelssohn’s organ sonatas than Scott’s 1992 double-cd collection.
A humble, soft-spoken man with a very subtle, distinctly British sense of humor, Scott was happiest when he could share his erudition and insight into the many centuries’ worth of music that he had immersed himself in since childhood. He worked tirelessly and vigorously despite what was often a herculean workload, first at St. Paul’s Cathedral in London, and from 2004 until his death at St. Thomas Church on Fifth Avenue in Manhattan where he was organist, music director and led the world-famous choir of men and boys.
Scott’s legacy as a recording artist is vast: he both played and recorded most of the standard repertoire for organ including the major symphonic works of Vierne, Messiaen, Widor and Durufle. He toured and performed tirelessly: his Buxtehude and Messiaen concert cycles are legendary. While gifted with dazzling technique, Scott was not a flamboyant player per se: though he could fire off torrential cascades and volleys of thunderous pedal notes as nimbly as anyone alive, he made those pyrotechnics all the more effective through his meticulous attention to dynamics, and, especially when playing Bach, his imaginative and thoughtful registrations. And every now and then, he’d throw caution to the wind, drop his guard and play entertainer: one of his final recitals at St. Thomas featured a droll Jean Guillou arrangement of the march from Prokofiev’s Love For the Three Oranges (better known to a generation of Americans as the FBI Theme).
Scott’s knowledge of and passion for choral music matched his skill as an organist, beginning in his childhood years as a chorister in Yorkshire. A noted scholar and arranger of plainchant, he served as mentor and inspiration for literally hundreds of singers who passed through St. Thomas’ choir.
A memorial service will be held at 11 AM on September 12, 2015 at St. Thomas Church at Fifth Avenue and 53rd St. A memorial service in the UK will follow.