New York Music Daily

No New Abnormal

Tag: durufle

A Dynamic, Riveting Performance by One of the World’s Great Organists

About midway through the concert this past evening at St. Ignatius of Loyola, a sad, rustic Celtic air wafted from the organ console. For fans of Irish folk tunes – many of whom were in the audience – it was a familiar and probably comforting sound. But others were taken by surprise, notwithstanding that the piece was on the program. After all, it’s not every day that you can hear the plaintive microtones and otherworldly drones of uilleann pipes at a performance of classical organ music.

And it wasn’t organist Renee Anne Louprette who was playing those particular pipes. It was Ivan Goff. As his composition To Inishkea slowly built austere, funereal ambience, Louprette added calmly resonant chords whose harmonies were counterintuitive to the point where it seemed that this might have been a joint improvisation. Cornered after the show, she revealed that she’d actually written out her parts. Is she also a Celtic musician? Avidly so – she also plays uilleann pipes, and Goff is her teacher. If she’s a tenth as good as he is, she’s a force to be reckoned with.

That world premiere interlude – which also included a lively if sepulchral Irish air from 1852, a more subdued Swedish waltz and a traditional slide dance – was typical of the poignancy and innovation that Louprette is known for. The big news is that she’ll be premiering a new commission for all those pipes with the Los Angeles Philharmonic, and if that we’re lucky, we’ll get her to air out the smaller ones all by herself sometime in the future.

She opened the concert with a confident, ultimately triumphant build through the long upward trajectories of two Bach organ pieces from the Klavierubung. The effect was heroism but not pageantry. At the reception afterward, more than one spectator commented on how Louprette does not let notes die on the vine – she lets them resonate for every millisecond of what the score requires. That issue is a big deal these days among string players, but it also applies to keyboardists.

Louprette’s steadiness and sometimes subtle, sometimes dramatic dynamic shifts carried a theme and variations from French composer Nicholas de Grigny’s abbreviated but pioneering Livre d’Orgue. She took that energy to the rafters throughout Ad Wammes’ colorful Myto, from playful motorik rhythms, to what could have been the robust title theme from an action movie – Snowboarding the Matterhorn, maybe? – to sudden blasts of angst.

A transcription of a Nadia Boulanger improvisation made an aptly pensive introduction to the evening’s coda, a transcendent, often harrowing interpretation of Maurice Durufle’s Suite, Op. 5. As with the Bach, she built steam matter-of-factly through an epic with a chilling, stalking opening theme, towering peaks punctuated by clever echo effects, a ghostly dance on the flute stops and a deliciously icy interlude played with the tremolo way up before the mighty gusts began. Durufle was a friend of Jehan Alain, and was profoundly saddened by Alain’s death: the many plaintive quotes from Alain’s music leapt out precisely at the most prominent moments. Or at least that’s how Louprette played them. Beyond sheer chops and emotional attunement to the piece, Louprette knows this organ like the back of her hand, having been at St. Ignatius for several years beginning in the mid-zeros.

Louprette’s new album Une voix françaisee/A French Voice is just out; her next concert is March 18 at 3 PM at St. Joseph Memorial Chapel at Holy Cross College in Worcester, MA  And the slate of organ recitals at St. Ignatius continues on March 21 at 8 PM featuring a lavish program of solo, choral and orchestral works by Bach. $25 tix are available.

The New York Choral Society Sing Masses For Troubled Masses at Carnegie Hall

They’re amazing,” the friendly retiree whispered to her brand-new concertgoing pal, a New York City firefighter in his 20s. A couple of rows closer to the Carnegie Hall stage, two women in their forties, a married couple, quietly affirmed that. And after the mighty voices of the New York Choral Society had wound up their triumphant performance of Haydn’s “Lord Nelson” Mass there last night, a teen in the third row dressed like one of the rappers in the 80s group Kid ’N Play gave them a standing ovation. The accolades on the ensemble’s press page run on and on; this concert attested that just about every demographic in this city shares those feelings.

Spontaneous applause had broken out after the first movement, possibly triggered by how meticulously and seemingly effortlessly way the sopranos in the group had followed soprano soloist Vanessa Vasquez’s exuberant flurries of glossolalia with their own, in perfect unison. If you think that’s hard to do by yourself, imagine the challenge of having to match your bandmates’ cadences with that kind of split-second precision.

This piece got its nickname after the story spread that the composer had been inspired by a British admiral’s pursuit of Napoleon. That might well be true, considering that Haydn was an Anglophile. What it also sounds like is that he wanted to write something so glorious that it would earn him a follow-up commission. Beyond being a flamboyant birthday present for a Hungarian princess, its raison d’etre as a “mass for troubled times” doesn’t really make itself apparent until after the opening festivities. This long party for churchgoing late-18th century one-percenters ran its course before getting switched out for more formidable gravitas. The rest of the soloists – tenor Zach Borichevsky, bass Sava Vemic and mezzo-soprano Abigail Fischer – locked in on Haydn’s signature humor, as did the choir and orchestra, who took it out in a decisively boisterous, precise yet comfortably fluid series of volleys. 

The original program had that piece first on the bill, followed by Maurice Durufle’s Requiem, Op. 9. Flipping the script and putting the Durufle first was logical in that it’s much quieter and has none of Haydn’s fireworks. But it’s a vastly more profound piece of music, and the ensemble delivered it that way. The program notes alluded to the composer following Gabriel Faure’s Requiem, but other than a muted sense of grief, the two pieces have little in common. And this one is hardly easy to sing, with its so-ancient-they’re-new-again Gregorian chant themes and shapeshifting, uneven meters. But musical director David Hayes led the singers through an impeccably balanced rendition that offered guarded hope, something that’s been gravely in need over these past three weeks or so.

The orchestral performance was as sublime as the voices. Durufle, longtime organist of Notre Dame, peppers the work with poignant cameos: distant terror from a tritone riff or two on the organ; ghastly shivers from the low strings, uneasily starry resonance from the harp and a moment where first violist Ronald Carbone took centerstage in his section in the piece’s most harrowing if understated cadenza. Fischer got a solo as well and channeled deep, wounded soul in vivid contrast to her untethered ebullience in the Haydn.

The New York Choral Society sing the New York City premiere of James MacMillan’s St. Luke Passion at St. Bartholomew’s Church on April 8 at 8 PM with the Brooklyn Youth Chorus and organist Jason Roberts.