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British organist Clive Driskill-Smith arrived in town this weekend with little notice. But then organ recitals tend to be beneath the radar of all but a very specialized audience.
But Driskill-Smith was worth making noises about. He certainly made some beautiful noises on the majestic instrument at the Cathedral Church of St Mark in Minneapolis.
At 22, he has already established quite a reputation. He was named International Performer of the Year by the Royal College of Organists in 2000 and is organ scholar at Christ Church Cathedral, Oxford.
From the opening work, "Transports de Joie (L'Ascesnion)" by Olivier Messiaen, he established himself as a dynamic, theatrical performer. He was unafraid to let the organ blast or make it growl or let it sing lyrically.
Through a diverse repertoire, Driskill-Smith proved himself to be a sensitive artist, never confusing loud with powerful. His thoughtfulness drew the audience into even the most obscure music.
No Protestant organist of any mettle can ignore the works of Bach, and Driskill-Smith's playing of one of the fugues was clean, precise and elegant.
But it was clearly the 20th century French repertoire that most interested him. In addition to Messiaen, he performed works by Marcel Dupre, Maurice Durufle and Louis Vierne.
These are works of luscious harmonies and colorful chromatics. He gave each one, from the playful scherzo by Durufle to the melancholy, plaintive "Le Monde dans l'attende du Sauveur (Symphonie-Passion)", its own distinctive sonority.
A contrast was provided by Messiaen's "Sortie (Messe de la Pentecote)", a work grounded in atonality. Driskill-Smith played with utter clarity, sorting the dissonances into music.
In addition, he used Swiss composer Guy Bovet's "Salamanca", a fanciful set of improvisations on a Spanish tune, to set the organ dancing.
A "Benedictus" by German Max Reger was the most delicate work of the program and showed him at his most heartfelt and tender.
The romantics were also represented with Franz Liszt's famous "Prelude and Fugue on BACH". The organ resounded with Driskill-Smith's virtuosity.
And in the slightest nod to the English tradition, he played the third movement of Edward Elgar's Sonata in G. He delivered it with wit that leavened its innate sentimentality.
He made the most of the St Mark's impressive instrument. And the spaciousness of the sanctuary showed off the music to its best effect.
Organ recitals might seem an exotic taste, even to diehard classical music lovers. But performers this good and programs this interesting might inspire new passions in ardent concertgoers.
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