Methuen Memorial Music Hall & Concert Review

[myorgan]

Guess where I went last night? I've been wanting to see and hear (possibly play?) the Methuen Memorial Music Hall organ for several years now. Two out of three isn't bad, but I didn't really expect to get to play the organ when a concert was happening anyway.

If you are ever passing by Methuen, MA on a Wednesday evening during the Summer, this series is a DO NOT MISS opportunity to hear some great music on a nice, historic instrument!

The Organ

• One can read about the organ and its history here: https://mmmh.org/welcome-2024/ My photos are below this post. Note the old tracker (disconnected) console behind the newer console. It will be updated to fiber optic in January.
• This link has the most information about the organ (i.e. stoplist), history, and past performers: https://mmmh.org/mmmh-history/
• The layout of the stops is in the pictorial history on the 39th page: https://mmmh.org/wp-content/uploads/...sic_Hall_and_t he_Great_Organ.pdf

In short, the organ was installed first at the Boston Music Hall in 1863 (I believe it's now known as Symphony Hall), and the following performers played the listed composers for the inaugural concert: John Knowles Paine, Whitney Eugene Thayer, George Washbourne Morgan, Benjamin Johnson Lang, Dr. Samuel Parkman Tuckerman, and John Henry Willcox performed works by Johann Sebastian Bach, George Frideric Handel, Felix Mendelssohn, Giovanni Pierluigi da Palestrina, Henry Purcell and Louis James Alfred Lefébure-Wély. A relative of mine played a small part in the unveiling as well.

In 1882 the Boston Symphony Orchestra felt they needed more room on stage, and the movement to remove the organ from the Hall began. The organ was removed a year later–just 20 years after it was unveiled. You can read the rest of its unfortunate history on the website.

The Program
The theme for the concert was: European Organ Masters. You can see the performance here:

The Organist
The performer, Joonho Park is an excellent organist. He has won several organ competition awards, so who am I to critique? He's done more at his age than I have in a lifetime! He provided verbal program notes at the beginning of the concert in English (from his cell phone), and did very well with the language. He is currently studying in Stuttgart, Germany, so I would imagine he's more familiar with German than English–but who knows!

I have rarely been able to state, "I don't believe I heard more than 1 mistake (if any) during the entire concert." That made the concert much more tolerable for me. Because the venue has a fair amount of reverb, some of the passages sounded a bit muddled, if you will, rather than Mr. Park using a more articulate playing technique in those passages, or perhaps more slowly.

Because his assistant, Mr. Steere was using the Previous/Next stepper, we weren't able to see the stops change in the balcony, so I had to guess at Mr. Park's registrations (twice someone came in and sat in front of me–so I moved). If one looks at the stoplist of the organ, there are a sufficient number of high-pitched stops, so it struck me some of the muddiness may have come from the registrations being used. The sound certainly lacked the clarity I'm used to, so I'm not sure if it was the organ or the performer. That said, listening to the online recording, the registrations sounded MUCH less muddy online than what the microphone picked up less than 10' feet from me in the balcony.

For the Duruflé Cathèdrale de Soissons, Op. 12, I don't know why I expected to hear the chimes used, but I guess it was my ignorance at hearing the piece for the first time. It was a good introduction to the organ, if a bit muddy-sounding (more later on that).

However, when it came to the Vierne Triptychque Op. 58, more nuanced stops of the organ were featured, and they sounded WONDERFUL!!! (16:25) For me, it was the highlight of the evening (blast that need to cough in the middle!). I heard some of the most lush strings I've ever heard in my life (19:40)! I kept thinking about our recent thread on Tuning Celestes, and how informative it would be to visit this organ so everyone could hear and experience the tuning, and the satisfying feeling that produces! I would not consider the celestes to be tuned widely, but rather narrow–just enough to leave you wanting more (a good thing in my book).

For the Bach Passacaglia (BWV-582), I think I was getting tired because it didn't get my attention like I was hoping (30:00). Because I have trouble sitting, I was more in pain than listening to the music–and dreading the long drive home. When I processed it later, I remember thinking I needed a break from the constant sound in the piece–maybe a greater registration variation, dynamic change, or a chance to relax the ear. Eight (8) minutes of fortissimo was too much for me. (Curse Virgil Fox for creating such a nice version I listened to previously!).

The concert (recital–they call them) ended with Liszt's Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam." Again, it was a piece I had never heard or even attempted to play because of my small hands and Liszt's large spans. I have to say I enjoyed hearing the piece, and no, John! It wasn't because of the full 32' Pedal Reed and 32' flue ending. It was just a really nice piece, and lyrical in the opening phrases. Mr. Park had an effective use of wait time in this piece, and I, for one, really appreciated his artistry mostly ca. 1:10/1:11 and following. He is truly a master here (IMHO). For me, this was the best part of the concert as all sources of tension and relaxation (i.e. time, rubato, dynamics, tone color, etc.) were employed to draw the listener in and prepare him/her for the final few minutes at FULL ORGAN!!!

Normally, I detest extraneous movement of the organist during a performance, but in Mr. Park's case, every movement had a reason and was tastefully implemented into the performance.

THANK YOU, Joonho Park for a very nice evening–I've waited years to hear this instrument, and you demonstrated it well!

Michael

P.S. Sorry for the long, subjective review.

[mlaird]

I'm sorry I missed the chance to meet you in person, since I try to attend several of the Methuen concerts each summer. I was last there for Lukas Hasler's concert, which was excellent.

The instrument looks amazing and sounds great, although it is dominated by its mixtures if you let it. Fred MacArthur has led some recent revoicing that has helped in this regard, but I still would like more foundation and less brilliance. The worst seat in the house is at the console, since the sound goes out over your head and you don't get to hear it until it has bounced off the (high) ceiling. At least you do get a very well blended sense of the overall ensemble. 😄

I'm hoping I can make it to next week's concert. It looks like an interesting and unusual program.

[myorgan]

Dang! We missed each other. Oh, well. Maybe next Summer.

Personally, in the balcony I found the foundations to override the brilliance. Perhaps that is because the organist was using no mixture or high frequencies.

Thanks for posting!

Michael

[mlaird]

I've never heard the foundations override the brilliance at Methuen! In fact, I was there when Peter Conte played a concert, and I liked how he brought out a lot of tone colors I hadn't heard before. I talked to him after the concert and mentioned some of this, and he said "I only used the bottom half of the organ." :-)

[myorgan]

Maybe this is the wrong place to post this, but it relates to the concert I attended as well as many more.

When I went through college as a performance major, I was required to memorize, and play from memory ALL music I performed publicly. I was also required to wear a suit and tie for the performances.

Recently, I'm noticing that without exception, in all the organ performances I'm seeing, the performers use their music (though sometimes only using it for reference), and just wear an open collared shirt with no tie.

Have standards changed, or am I just an old-fashioned fuddy duddy?

Michael

P.S. At my age, I welcome using the music and relaxed dress, but.... I do hate losing traditions of the past.

[tbeck]

I don't know if music critics from other newspapers do this but the music critics at the New York Times would refer to a performance where the soloist used music as a "reading." I find that really obnoxious. If the soloist performs the work well, who cares if it was memorized. I think in fact that one has a better chance of hearing a great performance if the soloist doesn't have the added pressure of relying on memory and so can focus on making the most of the music. (At least that was how I felt on the few occasions where I was a soloist.)

[myorgan]

Playing "devil's advocate" here, the argument I heard from those around me in college is that when one memorizes a piece, that memorization frees them up to express and interpret the piece better. I will have to admit that when I memorized not only the notes, but the piston and expression changes, I found the performance to be much better.

That said, however, at this age I can certainly appreciate having the music available. After losing several in my immediate and extended family to dementia, I can see the handwriting on the wall (& on the music), and know it may happen to me as well.

Michael

[mlaird]

While I am impressed by organists who can play from memory, I don't think it should be expected for everyone. Not everyone is as good at memorizing as some are. Personally, I'm not very good at it! Katelyn Emerson is an very technically talented and very artistic organist, but she uses music. I remember she made a video discussing why she does, with the main point that I remember being that it allows her to focus on higher quality presentation of the music instead of working just on the memorization.

At Methuen, I cut the artists a lot of slack on what they wear, since it's not air conditioned and can get oppressively hot. In general, I do think artists should dress up, but that summer series is an exception in my mind.

[myorgan]

At Methuen, I cut the artists a lot of slack on what they wear, since it's not air conditioned and can get oppressively hot. In general, I do think artists should dress up, but that summer series is an exception in my mind.

Good point!  I guess the week I was there was an exception, as it was cooler (only 80˚F).

Michael

[mlaird]

You'll be glad to know that tonight's artist at Methuen is very appropriately dressed up in a suit and tie. Even his page turner and registrant is in a nice dress shirt and tie. 😁

More importantly, he's playing very well and has picked interesting repertoire. But I am glad he dressed up too.

[myorgan]

You'll have to provide a review for us when the concert is done!

I seriously thought about attending, but when listening to some of the music on YouTube, it sounded like more cacophony than music. I'm sure some of the lesser known pieces probably sounded OK, though.

Michael

[mlaird]

Which of last night's selections sounded cacophonous? I thought the program was very good overall. I love the Franck Priere, even if playing it is a bit challenging due to Franck's fondness for sharps. The Choral that he ended the program with is one of my favorite under-played pieces.

The only problem I saw with last night's concert was that there were too few attendees for the quality of the program and playing.

[myorgan]

Which of last night's selections sounded cacophonous? I thought the program was very good overall.

I wasn't referring to last night's performance. I thought I made it clear I was specifically referencing the YouTube performances I saw/heard of the pieces chosen for last night. Of course, we all know about the vast variation in quality of performances on YouTube.

The only problem I saw with last night's concert was that there were too few attendees for the quality of the program and playing.

Isn't that always the case.

I was planning to be there, but my secondary agenda didn't work out, leaving me without a reason to make the trip. There's always next Summer!

Michael

[mlaird]

I wasn't referring to last night's performance. I thought I made it clear I was specifically referencing the YouTube performances I saw/heard of the pieces chosen for last night. Of course, we all know about the vast variation in quality of performances on YouTube.

Isn't that always the case.

I was planning to be there, but my secondary agenda didn't work out, leaving me without a reason to make the trip. There's always next Summer!

Ah - I see. Maybe YouTube's algorithm doesn't know organ interpretation well enough. 😁

Here is a fantastic rendition of the Franck Priere, with my only complaint being the voiceover in the middle of the piece. The supertitles in French are very helpful as well, even if I did have to use a translator to figure out all of what they were saying.

And here is Olivier Latry's rendition of the Vierne Choral from Symphony No. 2:

Also, Joonho Park's rendition at St. Sernin, Toulouse (since his playing started this thread!):

I like the sound of the St. Sernin Viole de Gambe all by itself at the beginning better than Latry's registration at Notre Dame, but I like Latry's tempo at the end better. Both are very good performances though, IMHO.

Do either of these sound cacophonous to you? If so, I guess we'll have to agree to disagree!

[myorgan]

I guess it's just Vierne I don't care for–or it may be some performances of his music by inexperienced musicians.

I KNOW Mr. Park is playing the piece correctly @2:51ff & 4:19ff, but to me, the continued dissonance/tension of the composition for long periods of time without letup/consonance aren't very pleasing or entertaining. It is definitely NOT worth driving hundreds of miles and paying good money to listen to something I don't enjoy. For me, listening to music is not an academic exercise as it is for some. I get it for a première, but not on a repeated basis.

Latry's interpretation was much easier to digest @3:05ff & 4:44ff, as the parts remained distinct. Perhaps it was the registration, the space, the organ, or all, but the Latry version was much easier to listen to. The ending reminded me somewhat of Dupré's Cortège et Litanie–a piece I had memorized at one time for performance.

The linked Franck was WONDERFUL! I suspect the version I listened to online used some inventive (maybe ignorant) registration/performance techniques so it sounded nothing like what Mr. Roth played above, rather, it was a screeching mess.

Michael

[mlaird]

I learned this piece in college, so I'm very familiar with it. I think I tend to "listen through" how muddy things get in a big acoustic in those fast passages. It also helps to really know the piece and how Vierne uses those dissonances and passing tones to create a sense of doubt or foreboding that fights against the serenity of the chorale tune at the start. Then at the end, he pulls together both the fear & doubt plus the faith & peace into a grand finale. If you find some recordings in a drier acoustic, you'll be able to hear better what's going on and it probably will make more sense.

Vierne does get rather chromatic and more than I prefer, especially in his later symphonies. I never thought of #2 as being very dissonant, but then I've known it for so long I'm very used to its harmonies, and they don't seem extreme compared to his Toccata or Symphonies 4-6.

I definitely agree that all of this French Romantic music greatly benefits from being played on the right instrument. It just doesn't sound the same on some bright German or Neo-Baroque organ. You need rich 8' foundations, snarly French trumpets, etc. to do this music justice. That's a bit of a challenge at Methuen, but I thought Boehmer did a good job this past Wednesday evening. Methuen's reeds are not French, and the relationship between them and the mixtures is not Cavaille-Coll, but you can make French music work if you register right.