Review: Guild's annual organ concert a hit — with one exception

Correction: This review, which ran on page 1D of the June 6, 2006, Daily News, reversed the names of two organists who performed at the annual concert of the Southwest Florida Chapter of the American Guild of Organists. The organist who used humor in his performance was John Fenstermaker, who played Pieces furtives. James Lorenz performed Sicilienne (without humor), one of the highlights of the show.

Most fans of organ music know that June means a major concert by the Southwest Florida Chapter of the American Guild of Organists. Now in its twelfth year, only perhaps a hundred seats were unoccupied Sunday afternoon during the performance at the Philharmonic Center for the Arts.

The Phil's mammoth four manual Casavant-Fréres organ was put through its paces by nine members of the Chapter, all of whom are organists or choirmasters at churches throughout the area.

Only one selection, George Frideric Handel's (1685-1759) masterpiece, "Arrival of the Queen of Sheba," performed by Brian Aranowski, brought an immediate "ah" of recognition from the crowd. Its melody is familiar to most Americans because it is frequently performed as a bridal processional.

Opening with a "soup to nuts," predominantly fortissimo composition by 17th-century composer Nicolaus Bruhns, Jim Cochran, resident organist of the Naples Philharmonic, put the organ through its paces for the majestic "Prelude," apparently written to be performed full-bore.

Speaking of full-bore, Brice Gerlach, popular director of music at First Presbyterian Church, and assistant director/accompanist for the Phil's chorales, chose to perform Johann Sebastian Bach's (1685-1750) atypical "Piece d'Orgue" (Fantasia). If you like complex arpeggios and scales, this would be the piece for you — unless you don't like in-your-face loud. In that case, you would have had difficulty appreciating the technical finesse necessary to perform this ponderous selection as it segued into its explosive climax.

Jonathan Birner, organist at Grace Lutheran Church, performed the afternoon's other Bach selection, "Prelude and Fugue in D." From the piece's opening, a scale performed with pedals alone, Birner displayed consistently good pedal work during his performance of the engaging, heraldic work.

During the latter portion of the program, two — or was it three? — essentially gentle, languid selections gave the audience's ears an opportunity to recover.

Claire Marie Faasse, currently organist of Covenant Presbyterian Church in Fort Myers, performed a romantic selection by French great Cesar Franck (1822-1890), "Chorale No. l in E Major."

I hate it when someone comments to me that they can tell if a number is written or performed by a woman. I hear and see with different ears and eyes. And yet, if I were just to read the program's selections, this is the one I would have picked to be most likely performed by the lone female organist of the afternoon.

I found the hauntingly evocative, lyric melody of Franck's final composition a pleasant diversion from a day filled with so many more strident choices.

It was the least testosterone-laden selection, except for the subsequent selection performed by Faasse's student.

At 17, James Crawford Wiley is an amazing talent and was was wonderful to watch. The home-schooled student was utterly focused, striding on stage and repositioning the bench. He proceeded to perform Hermann Schroeder's (1904-1984) "Kleine Praeludien und Intermezzi" like a seasoned professional. An excellent choice to showcase the diversity of this young man's talents, it was one of the highlights of the afternoon.

But I had another favorite as well: John Fenstermaker's performance of contemporary composer Jean Guillou (b. 1930) "Pièces furtives." Originally from Indianapolis, Fenstermaker is current dean of the Southwest Florida AGO chapter and director of music at Trinity-by-the-Cove in Naples. Like Wiley's performance before him, these little pieces perfectly showcased Fenstermaker's musicianship.

Peter Lewis, perhaps best known in his role as director of music at the Community School, performed another well-received selection, Louis Vierne's (1870-1937) "Finale" from his "Symphony No. 1."

Only one performance did I find problematic. But given the bursts of laughter ricocheting throughout the hall throughout James Lorenz's performance of Maurice Durufle's "Sicilienne," I was definitely in the minority in the crowd.

Lorenz holds his doctorate in Music from Florida State University. Apparently — at least in this performance — he thinks he is also a clown, wiping his brow, grimacing, putting his glasses on and off, sighing and twisting about as if he is bored out of his skull.

Perhaps he was trying to be the organ version of the second coming of Victor Borge.I had just about decided I needed to find a net and drag the man off the stage into the awaiting arms of his therapist, when he finished playing and turned around, having donned a "Phantom of the Opera" mask.

The audience — except for me — laughed and cheered.

Next time, it might be a good idea to filch an idea from Groucho Marx and have a large bird bearing a placard descend on a string proclaiming, "This is going to be funny!"

Peg Goldberg Longstreth was trained as a classical musician and owns Longstreth-Goldberg ART Gallery in Naples. You may e-mail her at jlongstreth@plgart.com.