Iain Quinn - Vincent Persichetti - Organ Works
Iain Quinn - Persichetti's Organ Works
Quinn's emotional performance and sensible programming turns the seventy-minute album into an exciting adventure into the world of Persichetti's own instrument.
In the newest release on Naxos' American Classics series, organist Dr. Iain Quinn revives several of Vincent Persichetti's marvelous compositions for solo organ. The album features prominent large-scale works such as the Dryden Liturgical Suite, Op. 144, his chorale prelude Drop, Drop Slow Tears, Op. 104, Auden Variations, Op. 136, a handful of hymns, and the stunning Sonata for Organ, Op. 86. Many audiences, even those accustomed to classical music concerts, will admit to be lulled to sleep by a recital of only organ music. However, Quinn's emotional performance and sensible programming turns the seventy-minute album into an exciting adventure into the world of Persichetti's own instrument.
Most remarkable is Quinn's rendition of the Sonata for Organ, Op. 86. Rarely performed by the modern organist, the Sonata is truly a magnum opus in terms of Persichetti's organ writing. Quinn is very particular with his adaptation of Persichetti's registration, fully utilizing the intricacies of the Perkins and Wells Memorial Organ at St. Paul's Episcopal Church in Greenville, North Carolina. He has no difficulty in creating a beautiful contemporary sound out of the instrument, and even with Persichetti's intense tonal dissonances, the air is never unintentionally cluttered.
Quinn's musicality and understanding of Persichetti's work is abundantly clear in his recording. The mordant figure, beginning each movement and permeating the Sonata, is clearly denotated as a structural element within the work; Quinn's recording being the first I've heard to emphasize this. He also performs with incredible rhythmic accuracy, especially for an organist. Persichetti's syncopated melodies are considerably more impactful when there is an intelligible rhythmic undercurrent. Quinn's playing allows for the jig-like "Allegro" in the first movement to be fun and carefree, and the brilliant "Vivace" in the third movement to be fierce and fiery.
Often, as acknowledged in the conclusion of Frank K. DeWald's liner notes, Persichetti is remembered for his legacy only as an inspirational teacher. Luckily for us, many great twenty-first century performers, such as Quinn, have begun to resurrect and record Persichetti's stimulating and creative compositions. Quinn's latest album is the perfect homage to an esteemed American composer, and will hopefully motivate further organists to explore and perform the bewitching music of Vincent Persichetti.
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