Music Reviews : Organist Marilyn Mason Gives Recital in Monrovia

As a performer, teacher and one who has commissioned no fewer than 42 works for her instrument, organist Marilyn Mason has made a strong and probably lasting impact on American organ playing. On Sunday, she made a powerful impact on the listeners at First Presbyterian Church of Monrovia, where she delivered a recital of works spanning 250 years.

Among those composers from whom she has requested works is William Bolcom, who, like Mason, teaches at the University of Michigan. Bolcom’s “Three Gospel Preludes,” written in 1984, are chorale preludes that take full advantage of the instrument’s timbral and dynamic potential.

At the other end of the historical spectrum, Mason opened with Bach’s Toccata, Adagio and Fugue in C, BWV 564. Clear counterpoint, stylish interpretation, sure control and an unmistakable sense of direction characterized her playing. This held true in Franck’s Chorale in B minor, though here and in some of the following works, an occasional, seemingly capricious use of the swell pedal resulted in an abrupt crescendo. Only this detracted from readings that otherwise evidenced thoughtfulness, insight and architectural logic.

The church’s 37-rank organ sang luminously in Langlais’ “Miniature” (commissioned by Mason) and resounded majestically in John Knowles Paine’s Variations on “The Austrian Hymn.” Langlais’ “Epilogue,” for pedal solo, not only exhibited Mason’s virtuosity but also her ability to paint clean lines and vivid colors on her musical canvas.