Review
Double Dual World Premier
The Grand Organs of Central Synagogue

by Ruby Lips
April 11, 2002

The title may sound a bit ostentatious but then so was the inaugural concert event held last night at the extravagantly reconstructed reform rococo Moorish palace in the heart of Midtown Manhattan. Following a fire that gutted the building in the late 90s a seemingly obscene amount of money was spent to fully and gorgeously or garishly restore the fabled interior in just a few short years. Let’s put it this way, the word ‘austere’ is not in the vocabulary of the people involved. But then, this is a reform synagogue; if you are going to water down divine devotion then the building better be outrageously brummagem; Oh dear, did I say that? Really, it is grandly elegant enough to make any righteous Episcopalian green with envy; and that after all is the whole point isn’t it.

In any case not one but two new organs were commissioned in loving memory of Gabe M. Wiener; and least anyone miss that fact the name is emblazoned on the cover of the thick glossy tri-fold 9 by 14 inch organ specification booklet, with not one but two cutouts, given to every attendee last night. And were there ever attendees, my dear; every organ queen and organist (or is that redundant) in the tri-state area was there, including some of New York’s most prominent organists who’s names I shall not besmirch by my mention. One such briefly stood beside me in the peasant line until I suggested he deserved VIP entry which had a separate shorter cue. He asked me to hold his place in line but never came back for me. Ah well, Ruby knows her place as a penitent. The place was packed, with a thick line around the block as people passed through the heavy security required in this time of war. There were very serious men in suits with elaborate headsets whose intense attention was gained simply by standing on the sidewalk and lighting a cigarette. The guns in their pockets did not bulge in gladness, my dear, goodness no.

You could immediately tell that you were in for a grandiose occasion, for this concert, because the entire double center section was reserved, front to back, for VIPs. I can assure you that this humble old queen was not on the guest list that also gained one admission to the exclusive reception afterwards. Despite the prime center section seats having been held for members, as well they should be, an elderly woman congregant evicted me from HER gallery seat, sigh. What a bitch! (I’m referring, here, to myself, of course, for having the lack of grace to complain).

The inaugural program was gloriously performed by Mr. David Higgs plus a chamber orchestra of 9 violins, 4 violas, 3 cellos, 1 bass, 2 oboes, and 3 horns.

Mr. Higgs first played on the Bima Organ and later on ‘the Gallery Organ.’ Aside from Handel, Rheinberger, and Bach, the premiere presentation was a new work written expressly for this organ at this event to specifically be played by Mr. Higgs at the Gallery console. T’filat Gavrieyl, (Gabriel’s Prayer), a Suite for Organ in D Minor was naturally written to showcase the new Casavant Frêres’ Opera 3812 and 3813. Despite this grand piece having been composed by a contemporary multi-media magnate (Shelly Palmer), it is quite respectable enough a work that it may well become a precious cachet piece for organ. It does, however, specifically require the rare Trompette Shofar stop designed for Jewish High Holy days liturgies on this organ. Nevertheless, any organist worth his AGO registration fee ought to be able to work out the sound on other organs of sufficient range. Considering that many present were there for the event rather than for the music, it is not surprising that a huge number of troglodytes left, and not very quietly either, before the final and true treasure of the evening: Reubke’s Sonata for Organ, the 94^th Psalm, Fantasia, Adagio, and Fugue. This pyrotechnic work, in Mr. Higgs’ capable hands and feet, showed the real magnificence and range of this organ.