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ARCH.2013.5.13, Rendition: 797494
Globe 10-13-71
THEATER / A
Rogg organ recital features Baroque
By Michael Steinberg
Globe Staff
Fifteen minutes before the beginning of Lionel Rogg's organ recital last night, there was not a thing to be had in the Busch-Reisinger Museum except standing room and a few places to sit on the floor. To hear this 35-year-old Swiss organist play, which is to hear him play, is not in concert halls but in museums and churches, has acquired so solid a public following since first beginning to play in America six years ago. He is clear, intelligent, thoroughly and easily in command of the instrument, and at the very least completely dependable.
He played a program of Baroque music, which is what the Museum's Flentrop, which Rogg understands and uses beautifully, like best: Buxtehude (D minor Passacaglia, prelude on "Nun komm der Heiden Heiland"), Lubeck (E minor Prelude and Fugue), Frescobaldi (two movements from organ masses and a Toccata), Kerll ("Capriccio sopra 'cucu' and D minor Canzona), Couperin (two movements from the Mass for Convents), and Bach (C major Prelude and Fugue, BWV 547, and the F major Toccata and Fugue).
Rogg's finest playing, the sort that produced the long, flexible lines of Buxtehude's chorale-prelude, the humor and exuberance of the two very attractive Kerll pieces, the rhetorical grandeur of the Couperin, the combination of drive and control in the two Bach fugues and the F major Toccata (and in his encore, the G major fugue), was in a class with the best you can hear, that done by Heiller, Tagliavini, and so few others that you don't need to go beyond the three to count.
The rest, like most of what he has recorded, was sober. Given crazy enough playing, the kind, for example, that Anthony Newmann has taken to, it may be that Rogg is so good that he can make the best of it. For the most part, however, the music that Rogg sometimes overstates is not the kind that, for all the skill with which he plays it, can be made to sound like the best. It was an astonishing tour de force on Rogg's part sometimes to remain so calm in the face of extraordinary harmonic and rhythmic provocations in the music (do you remember the last time you heard the "Point entrance exams in 'Portnoy's Complaint'?"). But he did not always convince me that that was what was most wanted. Then again, even that is not enough to be the best by Rogg is so good that it will make you sorry for the rest of the music - and some very remarkable music - on your own.
The image shows a newspaper clipping from the Boston Globe dated October 13, 1971, under the theater section. The headline reads, "Rogg organ recital features Baroque." The article is written by Michael Steinberg from the Globe staff.
The piece discusses Lionel Rogg's organ recital held in the Busch-Reisinger Museum. Rogg, a 35-year-old organist, was praised for his performance, which included a variety of Baroque pieces. Some of the works mentioned include:
The review highlights Rogg's ability to play with clarity, intelligence, and control. The reviewer notes that Rogg’s performance was not just technically impressive but also emotionally engaging, particularly in the more dramatic pieces. The article mentions Rogg's versatility and the soothing yet dynamic quality of his playing.
The article concludes with a recommendation that listeners should try to attend the recital to experience the music firsthand.
The image is a newspaper clipping from the Globe dated October 13, 1971. The headline reads "Rogg organ recital features Baroque." The article is titled "THEATER / A" and written by Michael Steinberg, a staff member of the Globe.
In the article, Steinberg describes an organ recital by Lionel Rogg at the Busch-Reisinger Museum. The concert took place in a standing room-only situation with only a few places to sit on the floor. Rogg, a 35-year-old organist, has been performing in America for six years and is praised for his clarity, intelligence, and command of the instrument.
The program featured Baroque music, specifically pieces by Buxtehude, Couperin, and Bach. Steinberg highlights Rogg's ability to play beautifully complex pieces such as Buxtehude's "Nun komm der Heiden" and Bach's C major Fugue. He notes Rogg's skill in conveying the humor and exuberance in the music, particularly in the choral prelude from Buxtehude's "Capriccio sopra 'cucu.'"
Steinberg also mentions Rogg's ability to maintain control and drive in pieces like Bach fugues and the F major Toccata, comparing Rogg's performance to that of notable composers like Heiller and Tagliavini. He concludes that Rogg's performance was impressive, with a tour de force in the second half of the concert, although he occasionally overstated some passages. Overall, Steinberg finds Rogg's playing to be technically sound, with a good sense of musicality and clarity.
The image is a newspaper clipping from the Globe, dated October 13, 1971. The article is titled "THEATER / A Rogg organ recital features Baroque" and is written by Michael Steinberg, a Globe staff member.
The article discusses a recital by organist Lionel Rogg at the Busch-Reisinger Museum. Rogg played a program of Baroque music, including works by Buxtehude, Kerll, Couperin, Frescobaldi, and Bach. The review highlights Rogg's command of the instrument and his clear, intelligent, and thoroughly engaging performance. Steinberg praises Rogg’s ability to bring out the nuances of the music, particularly the flexibility and expressiveness in pieces like Buxtehude's chorale-prelude.
The critic notes that Rogg's performance of Bach's major fugue was particularly outstanding, with a clarity and grandeur that made it one of the best heard in recent times. Steinberg also mentions that Rogg's renditions of Couperin's pieces were notable for their drive and control.
Overall, the article commends Rogg for his technical skill, musical understanding, and ability to make the music come alive for the audience.
The image is a newspaper clipping from the "Globe" dated October 13, 1971. It features a theater and arts article titled "Rogg organ recital features Baroque."
The article, written by Michael Steinberg, a Globe Staff member, reviews an organ recital given by Lionel Rogg at the Busch-Reisinger Museum. Rogg played a program consisting entirely of Baroque music, showcasing his exceptional talent and deep understanding of the genre.
The pieces performed included works by several Baroque composers:
Steinberg praises Rogg's performance, particularly his rendition of Buxtehude’s choral-prelude and Kerll’s pieces, noting Rogg's ability to handle complex music with intelligence and sensitivity. He also mentions that Rogg's interpretation of the pieces was clear and engaging, although he had some reservations about Rogg’s softer, more sober approach to the more extroverted pieces.
Overall, the article highlights Rogg's mastery of Baroque music and his ability to bring out the harmonic and rhythmic nuances in the compositions. Steinberg concludes by encouraging readers to attend Rogg's remaining performances.
The image shows a newspaper clipping from the Globe, dated October 13, 1971. The article is titled "Rogg organ recital features Baroque" and is written by Michael Steinberg, the Globe Staff.
The article discusses an organ recital by Lionel Rogg, a 35-year-old Swiss organist, held at Busch-Reisinger Museum. The reviewer notes that Rogg's performance was impressive, with his playing being described as "undertaking," "accomplished," and "completely dependable."
The recital featured Baroque music, including works by Buxtehude, Pachelbel, Lübeck, Frescobaldi, Kerll, Couperin, and Bach. Highlights of the performance included Buxtehude's "Nun komm der Heiden Heiland," Pachelbel's "Fugue in D minor," Couperin's "Capriccio" and "Cucu," and Bach's "Prelude and Fugue in E major."
Steinberg praises Rogg's playing, particularly his handling of the long flexible lines in Buxtehude's chorale-prelude and the humor and exuberance in the Couperin pieces. He notes that Rogg's performance was so good that it offered every possible advantage of such an approach, making it a remarkable musical experience.
The article concludes by emphasizing the high quality of Rogg's performance, stating that it stood out and allowed the audience to experience the music deeply and personally.
This is an image of a newspaper clipping from the "Globe" dated 10-13-77. The article is titled "THEATER / ART" and discusses a "Rogg organ recital [that] features Baroque." It is written by Michael Steinberg of the Globe Staff. The article reviews an organ recital by Lionel Rogg, mentioning that there was not a thing to be had in the venue aside from standing room and a few places to sit on the floor, highlighting the performer's popularity.
The writer describes Rogg as clear, intelligent, thoroughly and easily in command of the instrument, and very dependable. The program included Baroque music, showcasing pieces by various composers such as Buxtehude, Luebeck, Frescobaldi, Kerll, Couperin, Muffat, and Bach.
The writer appreciates Rogg's play style—the clarity and honesty—and comments on the performer's ability to maintain calm in the face of harmonic and rhythmic provocations in the music. The performance is critiqued as offering the audience an advantage, ensuring that Rogg’s organ recital is so refined, it allows listeners to make something personal out of the music.
The image shows the paper being slightly torn at the edges and the text appears to be typewritten, typical of newspaper articles from the 1970s.
The image is a scanned page from a newspaper dated October 13, 1971, titled "Globe". The article is titled "THEATER / A" and focuses on a Rogg organ recital that featured Baroque music. The article is authored by Michael Steinberg, identified as a Globe Staff writer.
Event Overview:
Venue and Setting:
Performance Highlights:
Critical Reception:
Specific Comments on Performance:
Personal Reflection:
The image depicts a newspaper article reviewing a Baroque organ recital by Lionel Rogg, held at the Busch-Reisinger Museum on October 13, 1971. The article, written by Michael Steinberg, praises Rogg’s technical skill, clarity, and emotional depth in performing works by composers such as Buxtehude, Bach, Kerll, Couperin, and Scarlatti. The reviewer highlights the beauty of the venue, the preserved organ, and the remarkable quality of Rogg’s performance, noting its sober yet expressive nature and its ability to engage the audience deeply.
The image is of a newspaper clipping featuring an article about an organ recital by Lionel Rogg. The clipping includes the date "10-13-71" and is from the Globe. The article is titled "Rogg organ recital features Baroque." The author is Michael Steinberg, a Globe Staff member. The article discusses Rogg's performance of Baroque organ music, highlighting his command of the instrument and his ability to convey humor and exuberance through his playing. The recital took place at the Busch-Reisinger Museum, and the article praises Rogg's interpretation of works by composers such as Buxtehude, Buxtehude, and Bach.
The image shows a clipping from a newspaper. The clipping is from the "Globe" and is dated October 13, 1971. The clipping is about a concert by Lionel Rogg, an organist, and is titled "Rogg organ recital features Baroque." The article is written by Michael Steinberg, a Globe Staff member.
The article discusses Rogg's performance, which included pieces by Bach, Buxtehude, Frescobaldi, and others. The author praises Rogg's playing, describing it as "clear, intelligent, thoroughly and easily in command of the instrument, and at the very least completely dependable." The author also notes that Rogg's performance of Buxtehude's chorale prelude "Nun komm der Heiden Heiland" was particularly impressive, and that Rogg's playing was "so calm in the face of and rhythmic harmonic and rhythmic provocations in the music."
The article also mentions that Rogg's performance was recorded, and that the author thought it was "an astonishing tour de force on Rogg's part." The author concludes by saying that Rogg's playing "offers you every possible advantage: there is such clarity and honesty itself and if the performer did not illuminate and excite, it never failed to stand out of the way and let you through to the music—and some very remarkable music—on your own."