Last night at Girard College, Dr. Harry Wilkinson, Professor Emeritus
of West Chester University played a recital that brought the house
down.  By the end of the evening, the large crowd was on its feet and
cheering!
 
Dr. Wilkinson may not be known nationally to some.  Some excerpts from
the program notes follow:
 
***
Dr. Wilkinson was chairman of the (then titled) AGO National
Examination Committee 1973-1980; also served on the program committees
of the National Philadelphia AGO Convention (1964) and the
International Congress of Organists (1977).
 
He has served as organist at several notable area churches, including
a period at Girard College (the program does not give the dates).  On
Girard College Founder's Day, May 1995, Dr. Wilkinson was named
"Honorary College Organist" and an honorary lifetime member of the
Girard College Alumni Association.
***
 
The Program (played without intermission, all from memory!):
 
Carillon                        Leo Sowerby
 
Symphonie de la Passion Paul de Maleingreau
2. Le Tumulte au Pretoire
 
Suite Bretonne                  Marcel Dupre
1. Berceuse (lullaby)
2. Fileuse (the spinner)
3. Les Cloches de Perros-Guirec (The bells of Perros-Guirec)
 
Symphonic Chorale: "Jesus, still lead on"       Sigfrid Karg-Elert
 
Valse Mignonne                  Karg-Elert
 
Sonata on the 94th Psalm        Julius Reubke
 
[Encore:]
An Imaginary Folk Song          Dr. Harry Banks
 
(Harry Banks was Wilkinson's first teacher and organist at Girard
College for over 40 years, and was the organist responsible for the
installation of the famous 110 rank E.M. Skinner organ).
 
There was nothing in the program notes which would have indicated that
the above program was to be a spectacular tour-de-force, showing off
the magnificent Skinner organ in all its glory, from the softest
pianissimo on Flute Celestes to full, powerful walls of sound,
including the Tuba Mirabilis.  It is an extraordinary experience to
hear an organ played by someone who is so comfortable and knows the
instrument as well as he knows his own hands.
 
Wilkinson managed to enhance the varied compositions on the program
with supple and effective registrations.  Neither the organ's sounds
nor the registration choices said, "Listen to me!" but rather seemed
like a perfect blend with the composers' mindset:  in short, a perfect
marriage!
 
The weather has been pleasantly mild and dry here in Philadelphia,
which was to the advantage of the organ and the audience!  The tuning
was quite stable and the sound of all of those ranks together in tune
was particularly forceful.
 
To give footnotes to each piece would take more space than is
appropriate here, but I should point out a few highlights.  The
Maleingreau (a tone poem or "storm piece") was an exciting performance
of the symphonic organ at its highest level.  One could feel the
tension and violence of the praetorium scene during which Jesus was
crowned with thorns.
 
The Dupre pieces were of a lighter nature, particular note should go
to the "Spinner" in which the constantly moving accompaniment imitates
the spinning wheel.  The Suite Bretonne is a colorful and interesting,
if not well known work.
 
The two Karg-Elert selections were also colorful, the Valse being
rather light-hearted and featuring some interesting "effects"-- the
program notes reference the composer's brief infatuation with the
theatre organ.
 
Finally, what can one say about the famous Reubke Sonata?  It has been
my privilege to hear this very piece on this organ by two masters of
the instrument.  In the mid-1980's Thomas Murray performed the work at
the AGO Regional Convention and they're still talking about it!   Last
night, another performance for the record books.  Wilkinson shows
great affinity for this piece.  It is not the "show stopper", it is an
expression of emotion and virtuosic musicianship.  When one sees Dr.
Wilkinson carefully make his way to the console, climbing the steps to
raised platform, one could not imagine the facile handling of this
piece which "separates the sheep from the goats".
 
The tension and mood carried forward as if powered by a modern
rocket.  The registrations for all of the movements reflected the
emotional "storm and stress" of the composer.  Certainly, the organ
was worked to its full limit!  And we were not bombarded by sound from
beginning to end.  The tension built along with the intensity of the
piece was brought to life by registrations which can took one to the
edge; after thinking that "you had heard it all" still more resources
poured into the climactic moments.
 
The final Allegro - Allegro assai were in control, but having a
feeling of spontaneity and improvisatory energy.
 
To this listener's delight, Dr. Harry Wilkinson is recording this
program next week for a new CD release.  I can't wait until it is
released!!
 
--
Paul R. Marchesano
 
634 S 48th St #3R
Philadelphia PA 19143-2048
(215) 472-4301
Fax (215) 898-8378
 
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