Ok, first of all this Albert Schweitzer Memorial Organ is a Ruffatti Organ built by Fratelli Ruffatti of Padua, Italy, the organ curator Widener & Company of Grayson, Georgia. and the Virtuoso Pipe Organ Control System is built by Intergrated Organ Technologies of Atlanta, Georgia. (now that's just to wet your appitite)
Carl Maria von WEBER Overture to Oberon
J.S. BACH Sinfonia, Cantata No. 29
Sigfrid KARG-ELERT Valse Mignonne, Op. 142 No. 2
Thomas HEYWOOD Humoresque for a Pedal Trombone, Op. 28
Louis VIERNE From Pièces de Fantaisie pour Grand Orgue, Clair de Lune, Op. 53 No. 5; Symphonie
No. 6 in B minor, Op. 59: V. Final
Guy BOVET Hamburg Totentanz
Miss Han's performance was absolutely flawless from the beginning of the Weber (pronounced Va'ber), where when my friend Gene Montgomery and I discussed (the organ is so much more complex to play than that of a piano), because of the pedals, stops and keys that are being played, it's almost like 5 different things, she is doing at one time. It was incredible, especially to see her "dance" on the foot pedals, in a almost waltz like state she was in as she was playing. Folks, I can't chew chewing gum and walk at the same time much less I would trip over my feet; Ms. Han was doing 5 times the work and not "just playing" notes. I will let my friend Gene Montgomery explain what all is happening in detail, at one time as she is playing. The Weber "Oberon" overture was filled with colors and it was brought to life by the acceleration of energy she applied to the keys, stops and pedals. Next, was the Bach Sinfonia from Cantata # 29, WOW, oh my goodness how beautiful this piece was and as Ms. Han swayed back and forth to her own rhythmic beat, as she played it, was really quite remarkable, she looked as she and the organ we "one". It was with the Karg-Elert that I was "really" captivated as the almost carnival sounds that she reproduced sounded almost like as she described in her brief synopsis of the piece, that it was to sound like a theater organ; not only did it sound like a theater organ but the sound that came from the organ "she manipulated" to make it sound almost like a carnival ride. I think this is where I broke the "ice" and called "bravo" from my seat, it must have been the right thing to do, because everyone seemed to follow suit. The Heywood Humoresque was delightful in it's own comical and "humor" way. The Vierne (pronounced v' (then air) then a strong "n" at the end of his name) (don't be embarrassed, I didn't know how to say it either, my friend Gene Montgomery had to tell me how to pronounce it). Vierne's Clair de Lune (not to be confused with Debussy's Clair de Lune), well folks I think I have found another "CLAIR de LUNE" that I love just as well. This piece was so rich in sound and beauty, I dozed off for just a few seconds and looked up at the art work on the organ and found myself "floating" in a cloud of musical notes. The Bovet Totentanz was delightful in it's sturdy and powerful notes and finally the Max Reger Fantasy, WOW, even for a new comer for me to be a Han performance, this was so overwhelming for me. It's beauty and powerful notes echoed throughout the music hall. It was hypnotic and breath taking.
Organist Ahreum Han’s imaginative, powerful, and extraordinary performances have thrilled audiences throughout the United States, Asia, and Europe. A rising star of the classical organ world, Ms. Han was a featured soloist at the National Convention of the American Guild of Organists to be held in Nashville, Tennessee in 2012. She was a featured artist at the Regional Convention of the AGO held in Atlanta, Georgia (2007), the Winter Conclave of the AGO held in Sarasota, Florida, (2010), the Young Virtuosi Festival held at Wesleyan University, Connecticut, Colorado State University, Colorado, and the White Mountain Musical Arts Bach Festival in New Hampshire.
Ahreum Han receiving her THIRD curtain call
Mark Hughes and Richard Morris - Organ / Trumpet Recital / April 27th, 2013 Spivey Hall / Clayton State University:
Some say that Richard Morris comes across as a "cranky" organist and prof. of music at Clayton State University; I say he is a brilliant Maestro that pulled off some incredible feats of music performance today. He made several comments that most people would have to think about before they found it comical but then soon would burst out with laughter because his comments really are funny. I met him up close and personal after the concert and his warm personality is just a overwhelming as his witty comments.
So then, Spivey Hall organist-in-residence Richard Morris is one of few organists with the honor of having been presented in recital by New York’s Carnegie Hall, a highlight of his distinguished concert and recording career.
Drawing on his unsurpassed knowledge of Spivey Hall’s magnificent Fratelli Ruffatti pipe organ, he reveals in recital his artistic mastery of a far-ranging repertoire. Morris is equally renowned for the commentary and acerbic wit that accompany his performances, applauded by loyal and enthusiastic audiences. Mark Hughes on the other hand is one of the finest trumpet and cornet players that I've ever heard, without doubt. Mark "knows how to spin out a long line with the eloquence of a gifted singer," says Derrick Henry of the Atlanta Journal and Constitution. Hughes developed his abilities while a student at Northwestern University where he studied with the late Vincent Cichowicz of the Chicago Symphony. After graduation, he was selected to be in the Civic Orchestra of Chicago allowing him to be a scholarship student with Adolph Herseth, the legendary Principal Trumpet of the Chicago Symphony.
Hughes then began touring with Richard Morris as the popular organ and trumpet duo, "Toccatas and Flourishes," performing throughout the US and Canada. His appo-intment as Associate Principal Trumpet with the Atlanta Symphony Orchestra followed, a position he held for 12 years. During his time with the ASO, he appeared as soloist with the orchestra on numerous occasions, performed on dozens of recordings, and was an active studio musician.
Mark is currently Principal Trumpet of the Houston Symphony, a position he has held since 2006. He has appeared as soloist with the orchestra on several occasions, including the performance of the Shostakovich Concerto #1 for Piano and Trumpet with Jon Kimura Parker, a performance heard nationally on American Public Radio’s “Symphony Cast”. Since his arrival in Houston, Hughes has performed and recorded with the Boston and Chicago Symphonies, and continues to be in demand as a soloist, with orchestras and in recital. In addition, each summer Mark serves on the faculties of the Brevard Music Center and the Texas Music Festival. Mark lives in Bellaire with his wife Marilyn and their two children, Thomas and Caroline. So, having introduced these two fine gentlemen lets' talk about the concert. First and Foremost the folks there that were listening found as I did as it to be "FLAWLESS" as Ms. Hans' but this concert differed from that of Ms. Han's because hers was with tremendous energy, while the Morris/Hughes concert was "heavenly".