2025 Concert Reviews

What a pleasure it has been this year, through the medium of this new website and its attendant blog posts, to welcome so many new friends to L’Organo, the yearly series celebrating the majesty of the King of Instruments.

For over four decades, these concerts have been an integral part of Charleston’s Piccolo Spoleto festival, inviting all who listen to partake in what has been called “the organ’s sublime dialogue with the divine.”

Indeed, as a loyal audience member has written, “in our historic churches, where the air is full of a storied past and the architecture itself seems to lean in to hear, our myriad of fine organs speak in tones that stir the soul, blending thunderous power with ethereal whisper.” 

This year, 2025, marked another glorious chapter in our tradition. From Memorial Day, May 26th, through June 6th, we presented twelve free recitals—daily opportunities for refreshment amid the festival’s smorgasbord of cultural delights. Our attendance and offerings have grown, and our performers have outdone themselves in imagination and virtuosity.

And so, having had the distinct honor of serving as Chairman of our Committee of hard-working volunteers for the last three years, it is my honor now to pass the gavel to the extraordinarily talented Nick Quardokus, prize-winner in the 2024 National AGO Improvisation Competition and Music Director at Grace Church Cathedral. The future of L’Organo is indeed in brilliant hands, ensuring that this cherished series endures for years to come.

Thus, in summation of this year’s L’Organo festival, we offer you these reviews of each concert. It has been my privilege to be joined in this project by Lee Kohlenberg, Katie Holland and Tony Williams, all fellow members of the Charleston chapter of the American Guild of Organists, a thriving national community of musicians who seek to share their knowledge and inspire passion for the organ.

May 26th, St. Michael’s Church – Eugene Lavery

L’Organo 2025 got off to a splendid start, with a stunning recital by New Zealand-born, Juilliard-trained Eugene Lavery, now from Waco, TX. Handel’s Alla Hornpipe, arranged by Jean Guillou, was the perfect opener in this Christopher-Wren style space, particularly when Guillou’s wild cadenza with its rushing scales added just the right note of virtuosity.

Since Massenet’s Thais was on the Spoleto Festival USA main-stage line-up, the Meditation from that opera was a perfect choice to follow, with the Kenneth Jones organ providing a rich palette of color. There followed a magisterial account of Bach’s C minor Passacaglia, with just the right amount of registrational variety to maintain interest.

By way of total contrast, Iain Farrington’s jazzy setting of Amazing Grace brought us right into our time and place, with Eugene showing himself to be a remarkable jazzman, with virtuosic riffs and rhythms.

Chopin’s E minor prelude led us then beautifully to the turmoil and drama of Jongen’s Sonata Eroica, with its stunning pedal solos; at the end, the large audience leapt to its feet in appreciation!

Tuesday 27th, St. John’s Lutheran – Aaron Patterson

The second concert of the 2025 L’Organo series was a most enjoyable recital presented by Juilliard student Aaron Patterson, who hails from Philadelphia. For such a young man, his playing was both exciting and expressive. He made great use of the registrational opportunities offered, employing to the fullest the wide variety of stops in the organ at St. John’s Lutheran Church.

His recital opened with a sparkling performance of the seldom heard Toccata in E Major of Johann Sebastian Bach, followed by the Three Canzonettas of Dietrich Buxtehude, which were delightfully performed, making great use of the colors of this organ.

Also of interest were the Two Pieces (Lucis Creator Optime and The Women at the Tomb, by Dorothy Papadakos), which he brought to life with his imaginative registration. Mr. Patterson brought his recital to an excellent close with the Prelude and Fugue in E Minor by long-time Juilliard faculty member John Weaver, showcasing the power of the St. John’s organ.

Wednesday 28th, Cathedral of St. John the Baptist – Thomas Russell

If I could attend just one concert to experience the evolution of the French organ school, this would be it. The Bedient organ—modeled after a Parisian Cavaillé-Coll—and the resonant space became a perfect canvas for Thomas Russell’s artistry. The program spanned a broad range of French organ styles, featuring works by Corrette, Mendelssohn, Schumann, Dubois, Daquin, Renaud, and centered around César Franck in a masterfully curated program.

Fittingly, it opened with Pierné’s Prelude from Trois Pièces, Op. 29, introducing three hallmark French characteristics: rapid fingerwork, layered timbres combining flutes, strings, and reeds, and swirling chromatic crescendos. Russell’s flawless technique and imaginative registration highlighted both the organ and the repertoire, producing a performance full of memorable moments.

Franck’s Choral No. 2 in B Minor, FWV 39 exemplified the French symphonic approach to organ—dynamic contrasts and orchestral colors. Dame Gillian Weir aptly described it as “a giant passacaglia... from somber genesis through an avalanche of sound to its peaceful end.” A particularly sublime moment featured the melody on the vox humana, leading into a fugal section and returning softly to that same voice.

A notable feature of French organ music is its incorporation of “nature” stops and sounds. In Corrette’s Grand jeu avec le Tonnerre, Russell employed the “Orage” (storm) pedal for thunderous effects—this uncanny depiction of thunder sent chills up and down my spine.

The sound is made by playing the lowest, dissonant pipes on the organ. Similarly, in Dubois’ Marche des Rois Mages, a persistent, glittering star was mimicked by holding down a high-pitched key with a pencil. The Christmas theme continued with Daquin’s Noël X, where Russell’s lively tempo, ornate playing, and vivid registrations created a joyful whirlwind of sound.

The concert concluded triumphantly with the showstopping Toccata in D Minor, Op. 108, No. 1, of Albert Renaud. As Russell noted in the program, this French Toccata is “full of brilliant passage work and fiery configuration... soaring contrasting themes and refreshing harmonic twists.” His stated mission is to enrich listeners through compelling performances of both traditional and lesser-known repertoire.

Thursday 29th, Mother Emanuel AME Church – Pamela Kane

Designing an organ recital program for a concert at Mother Emanuel church, such an icon in the history of the Black church in South Carolina, is quite a challenge, one, however, to which Dr. Pamela Kane of Hilton Head rose magnificently. Her eclectic blend of American and European works, ancient and right up-to-date, was well received by the large audience, which included arts leaders along with parishioners and festival goers from near and far.

She began with an impressive setting of the Easter Hymn by American master Robert Hobby, displaying a wide variety of the colors of the new Zimmer organ as well as her own virtuosity. This was followed by a transcription by Kevin Uppercue of Respighi’s arrangement (from the orchestral Ancient Airs and Dances Suite No. 1) of the “Balletto detto ‘Il Conte Orlando’ of 1599 by Simone Molinaro; the familiar strains of this well-known melody, played with suitable joie de vivre on a variety of flute stops, brought many knowing smiles from the listeners.

From this, she swung straight into the magnificent E flat Prelude and Fugue (BWV 552) of J.S. Bach, using the most stentorian sounds of the instrument to set the scene. While not what one might think of as the perfect Bach sonority these days, it suited the strengths of this instrument, which lie in its pipe-based choruses, stemming from the original early twentieth-century instrument built for and cherished by the church. Dr. Kane’s articulations of the pompous rhythms and the sweeping scale patterns brought out the structure of the work, and her decision to lead straight into the fugue without a break was a wise one.

By complete contrast, the two African-American spiritual settings by Marianne Kim used the new digital voices of the instrument to full advantage; the second, a setting of “Every time I feel the Spirit,” used the Gospel division of tibias, tremulants and vox humanas to sound just like a Wurlitzer (or a Hammond B-3!). At the same time, her deft rhythmic sense set every toe tapping. The “Elegy” of Sir George Thalben-Ball then provided another complete contrast, the smooth registrational build-up and diminuendo giving a wonderful sense of settled Edwardian contentment. And to end with, Craig Philip’s dazzling setting of “How Firm a Foundation” brought the audience to its feet, in grateful recognition of the ability of the instrument to wear so many hats with aplomb, as well as the artist’s superb skills.

Mena Mark Hanna, General Director of Spoleto Festival USA remarked:

“I heard Pamela Kane play as part of Piccolo Spoleto’s organ recital series, L’organo, and was absolutely moved to tears. Seeing her perform on a newly built organ with blow-your-socks-off power in Mother Emanuel AME a decade after the massacre instilled in me such a sense of awe, power, grace and forgiveness. I am hopeful that music really can heal.”

Friday 30th, Summerall Chapel, The Citadel – Chase Olson

Confidently Virtuosic

Chase Olson, a Senior at Oberlin College and Conservatory, played a confidently virtuosic recital on May 30 at Summerall Chapel on the 95 Rank C. Zimmer 2024 organ. Playing a full range of repertoire from Bach through Franck to his composition (2021), he displayed masterful control of the sounds and mechanics of this large instrument. His Trumpet Fanfare exhibited knowledge of the many such pieces while remaining original.

The Bach D Major was played with calm brilliance of tempo and technique, exploring the drama of the piece. Warm and quieter pieces by Mendelssohn and Coleridge-Taylor explored softer sounds and moods. The Franck E Major Chorale was played with sensitivity of phrasing and appropriate French sounds, but lost some of the freedom as the piece drew toward a magnificent conclusion.

The Faure Sicilienne offered a gentle and melodic contrast. The 2013 Tree of Life by Angela Kraft- Cross gave a view of the stages of life and seasons over a passacaglia bass to bring the concert to a stunning conclusion, drawing the appreciative audience to its feet.

Early 20-year-old Chase gives us further confidence that the pipe organ and its repertoire will continue in the future.

Saturday 31st, John Wesley United Methodist Church, West Ashley – Laura Smith

The sixth recital of the 2025 L’Organo series featured Laura Smith, a recent graduate of Baylor University. Ms. Smith opened her program with an energetic performance of Fantasy and Fugue in G minor by Johann Sebastian Bach.

The second movement of the Sonatine followed this pour les étoiles (Sonata for the stars) by the contemporary French composer Valery Aubertin. Her performance of this piece was particularly exciting and imaginative, showcasing the range of colors of the John Wesley Methodist Church organ.

She followed this with a performance of the Fantasie in A Major by another French composer, Cesar Franck. This piece is best performed in a room with lively acoustics and can be difficult to bring off in a dry room, but Ms. Smith handled both the room and the organ beautifully.

My two personal favorites of this program were Seth Bingham’s dazzling “Roulade” and Ms. Smith’s own arrangement of the Star Wars Medley by John Williams. Ms. Smith’s performance of both pieces was a truly delightful experience.

Sunday June 1st, St. Clare of Assisi, Daniel Island – Sarah Carlson

Delightful Collection

Sarah Carlson, an experienced organist from Bemidji, Minnesota, played a delightful collection of shorter pieces that could be heard in church on a summer Sunday morning.

The wide range of styles began with a French Baroque Noel by Delande, and an early (1707) Bach Fantasia, BWV 563. After the familiar Humoresque of Pietro Yon and Dupre’s Eight Short Preludes on Gregorian Themes (very appropriate in this lovely space, with its glorious early 1900s stained glass windows and ethereal acoustic), the remainder of the program from the 20th century featured a variety of sounds on the large Colby digital organ.

The collection included tidbits from France, England, and the United States with music by Grayston Ives, Firmin Swinnen, James H. Rogers, Johannes Michel, and Aaron David Miller. The large and appreciative audience rose with applause.

Monday 2nd, St. Michael’s Church – David Kraft

Eastman undergraduate David Kraft began his excellent recital for L’Organo 2025 by showing us all once again how well Rheinberger’s organ music seems to suit the English organ sound. His splendid reading of the Introduction and Passacaglia from the Sonata No 8, Opus 132 began dramatically with rich, full-throated sounds; the mysterious opening of the Passacaglia led to an admirably smooth and colorful buildup towards the final climax.

Following this auspicious start, the Priere of Cesar Franck lowered the emotional temperature somewhat. This is really a piece for a lazy Sunday afternoon in a cavernous French cathedral after a good lunch; unfortunately, neither instrument nor acoustic really rose to the occasion, despite the artist’s lyrical handling of cross-rhythms and climax.

The Chant de Joie of Langlais jolted us back to an energetic world, and the Priere of Nagi Hakim, with its astringent harmonies, was an interesting foil to the Franck.

With the early G minor Prelude and Fugue, BWV 535, David had a chance to show us his way with Bach — clean, articulate, authentically registered. The chain of diminished 7ths in the prelude was dispatched with merciful velocity and deft manual changes; the fugue built to a virtuosic conclusion.

Virtuosity of a later sort was the watchword for the concluding Finale from Widor’s Sixth Symphony, feet and hands flying over the keys with youthful élan. A masterful performance!

Tuesday 3rd, St. Matthew’s Lutheran Church – Brennan Szafron

Canadian Brennan Szafron, now living and teaching in the Carolinas, delivered a fresh recital of lesser-known classical works and vibrant 20th-century pieces, rich in harmony, syncopation, and virtuosity.

He opened with the Allegro from Widor’s rarely heard Symphonie No. 8 in B Major, a technically demanding and dynamic piece. Three dramatic surprises near the end gave way to a serene finish— an exhilarating start.

Next was Bach’s early Toccata and Fugue in E Major, BWV 566, in the style of Buxtehude. Its bold fugue, expressive recitative, and stately second fugue featured standout pedal work, which Szafron handled with assurance.

Bédard’s Fantasia alla Marca offered a playful interlude, with a soothing voix céleste section leading back to a jaunty march. Two pieces by Guilmant—the Adagio from Ariane, Op. 53 and the Allegro in F-sharp minor, Op. 18, No. 2—showed his reflective, restrained Romantic style in contrasting tempos.

Nico Muhly’s The Revered Mustard—His Installation Prelude brought a burst of minimalist sound, with continuous motion and expressive hand interplay. Brief but brilliant. Sowerby’s Arioso followed, a mellow, lyrical piece with shades of Debussy and Gershwin. Szafron rendered it with soft textures and subtle expressive control.

The program closed with Gerre Hancock’s Toccata, a fiery blend of French-style harmonies and syncopated rhythms that ended the concert with a bang. Szafron’s creative program highlighted his expressive nuance and technical mastery.

Wednesday 4th: Cathedral of St. John the Baptist – Eddie Zheng

Music for the Acoustic

Eddie Zheng, a young organ virtuoso from New York City, played a stunning recital in Charleston, SC, as part of the Piccolo Spoleto L’Organo series. He chose music from the French romantic organ “greats” specifically for the reverberant acoustics at the Cathedral of St. John the Baptist and the Bedient tracker organ modeled on the sounds of Cavaillé-Coll.

An unusual hearing of the entire Organ Symphony No. 5 allowed the familiar “Toccata” to be in context with the wide variety of styles, textures and sounds of the preceding four movements. He began quietly with Dupré’s Cortège et Litanie with the rapt attention of the audience. Hearing this music today offered a special view of its original emphasis—grandness over detail. Eddie masterfully used the organ and his flawless technique to move and excite the large audience to an extended standing ovation. This is an organist to watch and follow as he pursues his career.

Thursday 5th: Cathedral of St. Luke and St. Paul – Rosalind Mohnsen

Ms. Mohnsen’s programming had the shape of liturgy. The opening piece, Purvis’ An Invocation to the Sun, was a bright opening on the two manual tracker by Gabriel Kney that left our chins lifted, our ears basking in sound as we opened ourselves to a delightful concert.

The program was diverse in registration and style but not in execution. Ms. Mohnsen played with beautiful hands and nimble, low feet in all genres. She included several American composers such as Richard Purvis, Henry Dunham, Morton Gould, and Gustav Wright, as well as others.

The piece, “Mozart Changes” by Hungarian composer Zsolt Gárdonyi, was a composition based on Mozart themes from the last movement of the Sonata for Piano, KV 76. It was only light in mood and not in difficulty as the themes were reimagined with jazz harmonies and rhythms. Ms. Mohnsen demonstrated creativity in all of her registrations using combinations as the crisp flute against strings, and a hootie cornet against flutes.

The entrée of the program was Dunham’s Brahmsian Fantasia and Fugue in D-Minor. The program notes drew attention to the pedal cadenza solo, where two feet simultaneously play three notes, and the audience was fortunate enough to catch a glimpse of it on the foot camera displayed on the portable screen at the front of the nave, provided they were paying attention. Throughout the concert, Ms. Mohnsen showed every color of the organ by using each stop alone and in combination; both the “pungent” 16’ Posaune and the “stinky” Schalmei (8ft solo) were to great effect, adding body and power to the Fugue’s registration.

Throughout this concert, Ms. Mohnsen made good use of the organ’s versatility, showing off clean lines, chiff, articulation, and colorful solos in the Gardonyi and showing combinations of strings, flutes, and reeds under expression and the dynamic building in the chromatic “swirls,” particularly in Gustin Wright’s Meditation.

To this point, Mohnsen displayed the power and grandeur of both Louis Vierne and the organ by demonstrating lovely dynamic shading, She talked in her program notes about how French Gothic organ music’s sound is made “reed choruses, buildup of sound possible by coupling divisions of the organ together, mechanical controls”—she did all of this on a two manual capturing the spirit if not the letter of the original Aristide Cavaille (with accent)- Coll in a French Gothic cathedral.

Morton Gould’s Pavane featured a hootie, hollow cornet against strings with the 16’ gedeckt pedal striking a good balance between lightness and colorful solos.

The concert concluded with a movement from “Five Wayside Impressions in New England”, A Song of the Sea by H. Alexander Matthews. Based on poetry, this pirate-sounding piece depicted stormy seas that seemed joyous, not dangerous, an optimistic celebration of the majesty of nature. All in all, both Rosalind and the Kney gave an excellent, diverse performance, showcasing their many strengths.

Friday 6th: St. Matthew’s Lutheran – Thomas Heidenreich

The final recital of the 2025 L’Organo series featured Thomas Heidenreich at St. Matthew’s Lutheran Church. His interesting program consisted of two very contrasting pieces, a setting of Ein feste Burg ist unser Gott by the early Baroque composer Michael Praetorius, and a transcription of Pictures at an Exhibition of Modest Mussorgsky by Jean Guillou. Both pieces were very different, and Dr. Heidenreich brought them off well on the St. Matthew’s organ.

The Pictures at an Exhibition by Mussorgsky was particularly interesting. Dr. Heidenreich’s use of the various colors of the organ brought out the story and the images of each painting. It was often hard to believe that this piece was not originally written for the organ.

On a personal note, I enjoyed this transcription just as much, if not more than, the original orchestral version. Dr. Heidenreich really brought this piece to life. The performance of Pictures at an Exhibition was a crowd pleaser and brought the 2025 L’Organo series to a great close. Bravo, Dr. Heidenreich!

In closing, I would be remiss if I did not suggest to our readers that it is your donations that help sustain our free concert series during Piccolo Spoleto. Donations are tax-deductible and should be paid directly to the City of Charleston, Office of Cultural Affairs, with “L’Organo” in the memo line.