The air in Colorado State University's Organ Recital Hall on November 7th, 2023, held a palpable sense of anticipation. Organist Dr. Susan Smith, a respected figure in contemporary organ performance, was scheduled to present a program that promised a journey through contrasting eras and styles. The instrument itself, a magnificent custom-built Baroque-style organ with over 3,000 pipes, loomed large, a silent promise of immense sonic power. This recital was not merely an exhibition of technical skill; it was an immersion into the expressive capabilities of a singular instrument and the profound connection between performer, instrument, and audience.
Smith’s program opened with J.S. Bach's "Toccata and Fugue in D minor, BWV 565." It is a piece so iconic it almost risks becoming a cliché, yet Smith's rendition immediately dispelled any such notion. Her touch was both precise and fluid, navigating the rapid scalar passages and intricate fugal entries with breathtaking clarity. The famous opening chords resonated with a thunderous authority, yet the subsequent melodic lines possessed a surprising delicacy. What was particularly striking was her use of the organ’s various stops. She masterfully shifted tonal colors, employing a rich, full diapason for the grander statements and a more ethereal, reedier sound for the more introspective passages. This dynamic control transformed a familiar piece into a fresh, visceral experience, highlighting the organ's capacity for dramatic contrast.
Following Bach, the mood shifted dramatically with the inclusion of Olivier Messiaen's "Dieu parmi nous" from La Nativité du Seigneur. This piece is a profound exploration of spiritual awe, and Smith conveyed its intensity with remarkable emotional depth. The opening fanfare, characterized by dissonant chords and percussive accents, was delivered with a raw power that evoked a sense of divine pronouncement. Later sections, with their soaring melodic lines and complex harmonic structures, were rendered with a spiritual gravitas. Smith’s ability to sustain long, resonant chords and then weave intricate melodic threads within them demonstrated a profound understanding of the organ’s sustained sound. The sheer sonic density of Messiaen’s work, when amplified by the hall’s acoustics and the organ’s full range, created an overwhelming, almost transcendent atmosphere.
The recital concluded with a selection of contemporary pieces, including a premiere by CSU composition student Anya Sharma. Sharma’s work, titled "Echoes of the Plains," explored the sonic textures of the Colorado landscape. Smith’s performance of this new work was particularly noteworthy. She employed extended techniques, such as rapid manual tremolos and subtle pedal glissandi, to mimic natural phenomena. The piece moved from quiet, shimmering passages reminiscent of wind rustling through grass to broader, more expansive sections that evoked the vastness of the prairie sky. Smith’s commitment to new music and her ability to interpret its often-unconventional demands showcased the organ not just as a historical instrument, but as a vital contemporary voice.
The success of the recital owed as much to the venue as to the performer. The Organ Recital Hall at CSU is designed with acoustics in mind, allowing the organ's full sonic spectrum to envelop the listener without becoming muddy. The rich resonance of the lower registers, the clear articulation of the mid-range, and the brilliant shimmer of the upper work were all beautifully preserved. Smith’s judicious use of the instrument, combined with the hall’s sympathetic environment, created a truly immersive musical experience. The concert was a powerful reminder of the organ's versatility and its enduring capacity to move and inspire.