I read from Louise, and then we had 30 minutes of questions, stories, and more stories. Some of the people there were close friends of Virgil's, and some had even attended the concerts Louise spoke about. Her reminiscences were touching, often very funny, and revealing; but LP) let you read them yourselves at www.
Professor Alexander Fiseisky is standing on the left. Born in in a small town near Chicago, he died in Florida inhaving lived much of his life in New York. Kennedy Center in Washington, where he was a Founding Artist.
His last concert he played with the Dallas Symphony Orchestra just one month before he died, after several years of fighting painful cancer. He was not a composer, so his legacy was made entirely as a performer.
All of his organ teachers were European. Through his LP) influential teacher, Wilhelm Middelschulte from Germany, with whom he studied for three years while still in high school, his heritage is traced back to Johann Sebastian Bach and the Thomaskirche of Leipzig by way of Karl Straube. When he returned, he became head of the organ department of Peabody Conservatory of Music, replacing his Dutch teacher, Louis Robert, upon his death. Despite his European teachers, he was uniquely American in his approach to the organ.
He was not interested in a historical organ, but rather in the contemporary American concert organ. In America, it was Aeolian-Skinner of Boston, which closed in Subsequently, he chose Fratelli Ruffatti of Italy to build new instruments such as the one at the Crystal Cathedral in California, which incorporates the Aeolian-Skinner from Lincoln Center in New York, an instrument he inaugurated in Rockefeller, Jr.
Although he played mostly in churches until he was 50 years old, when he died he was most famous for playing in concert halls. Inwhen 59, he performed "Heavy Organ," an all-Bach concert with a psychedelic screen light show, at New York's Fillmore East, a famous rock 'n' roll concert hall. That made him a sensation with young people, to whom he had a special appeal despite his age, and it gave him his greatest public success. He first had concert management was when he was very young, after returning from Europe.
He quickly became the management's most successful artist. In the s, he decided that he needed more personal representation, so he made his secretary his manager; but she soon married and moved to Boston. Inhe invited me to New York to be his personal manager. I was his manager until My partner, Marshall Yaeger and I, developed the first touring electronic organ program for him. It allowed us to create "Heavy Organ" inwhich was inspired by our seeing a piano concert, with lights, of the music of Scriabin.
He made classical organ music appeal even to audiences that normally wouldn't be expected to sit still for it. Other organists' recitals might be occasions when, as Fox once put it, ''the fugue subjects entered one by one as the audience left two by two. And so two groups, the Virgil Fox Society and the American Guild of Organists, presented the memorial recital as the flagship event for a flotilla of concerts, organ crawls and multimedia celebrations at music halls, churches and even outdoor pavilions across the country a week later.
Their aim was to attract as many aspeople to hear the King of Instruments, something Fox did single-handedly over the 's. A romantic like Rubinstein and a popularizer like Liberace, with whom he appeared on television on ''The Mike Douglas Show'' inhe did not shy away from show business or schmaltz if that was what it took to get people to listen to him play. Even his detractors conceded that his technique was peerless.
They faulted him for bad taste, though what they were objecting to was actually camp, which can seem out of place in the churchly confines where organists are usually found.
Fox, who affected a beret and a crimson-lined black cape, and drove around in a pink Cadillac convertible, bitterly resented that kind of criticism. Otherwise, he didn't care what anybody thought about who he was.
The reply was shocked: ''I'm not your honey, and kindly never address me that way again. Unlike the ''purists'' who detested the lush liberties he sometimes took with Bach, Fox was not above forsaking pipes and using an electronic organ to get the music across.
He dragged Black Beauty, a booming, blaring Rodgers electronic instrument, along with a light show and smoke and mirrors, to rock-concert halls, hoping to get young 70's listeners to trip out on the music of Bach.
Behind the console came the light show, Come Sweet Death - Virgil Fox - Virgil Foxs Greatest Hits (Vinyl, the different hues swirling in all directions and even Bach's stern features popping up occasionally. At the end, still playing, Fox disappeared as dense fumes rose up around the LP). Curley took to the concert whispered to her escort, who reassured her, ''No, Dear, dry ice.
Torrence said. Always Fox stressed pushing the limits of the instruments available to him, rather than requiring that they, or his playing, be authentic to the era of the music. His style particularly his taste for fast tempos, intricate registrations, and a willingness to indulge in sentimentality was in contrast to that of his contemporaries, such as E.
Power Biggs. Fox was also famous for his musical memory, and could instantly recall over LP) works, playing at double speed or faster in rehearsals which usually went late into the night. He played all concerts from memory and very rarely read from written scores even when playing alongside an orchestra. Many organists, however, have strongly criticized Fox for his unconventional interpretations of classical organ music.
On his album Heavy Organ: Bach Live at WinterlandFox defended his approach to Bach and organ music in general, in the introduction to the ubiquitous Toccata and Fugue in D minor, BWVby Johann Sebastian Bach ; Virgil always spoke to his audiences about Bach's reason for his compositions being his belief in Jesus and everlasting life whenever he performed his music.
There is current in our land and several European countries at this moment a kind of nitpicking worship of historic impotence. They say that Bach must not be interpreted and that he must have no emotion, that his notes speak for themselves.
You want to know what that is? Pure unadulterated rot! Bach has the red blood. He has the communion with the people. He has all of this amazing spirit. And imagine that you could put all the music on one side of the agenda with his great interpretation and great feeling and put the greatest man of all right up on top of a dusty shelf underneath some glass case in a museum and say that he must not be interpreted!
They're full of you-know-what and they're so untalented that they have to hide behind this thing because they couldn't get in the house of music any other way!
For once making a similar speech at one of his recitals, music critic Alan Rich called him "the Liberace of the organ loft", and severely took him to task in New York Magazine. Despite or perhaps because of his controversial approach to organ music, Virgil Fox attained a celebrity status not unlike that of Leonard Bernstein and Glenn Gould. He made classical organ music appeal even to audiences that normally wouldn't be expected to sit still for it.
In a sign of continued recognition unusual for a performer as distinct from a composerVirgil Fox memorial recitals and concerts continue to be staged, more than a quarter-century after his death. Fox was a National Patron of Delta Omicronan international professional music fraternity.
Oct 29, - Explore dawnr60's board "The Great Virgil Fox!" on Pinterest. See more ideas about Virgil, Fox, Greatful pins. I was thrilled to find this disc on balnalatelesupprosivadisbere.coinfo The vinyl album version of "A Virgil Fox Christmas III" was a vital part of many Christmas seasons as I grew up. As an adult, I had a cassette copy of it which eventually was eaten by Mr. Jaws, my old tape player. I have been without it for many holiday seasons and Christmas hasn't been the same. Mar 17, · Virgil Fox prepared his arrangement of Bach’s Come, Sweetest Death, Come, Blessed Rest for a performance in the summer of on the renowned Wanamaker organ in Philadelphia during the national. Virgil Fox, famously playing the Wanamaker Organ for the Philadelphia AGO National Convention, introduced the world to his creation “Come Sweet Death” based on a song by J. S. Bach. Peter Richard Conte commemorates the centennial of Fox’s birth in a live concert given on the Wanamaker Organ, playing works connected to Fox and from. Virgil Fox’s Greatest Hits From the liner notes: For this anthology, Westminster has sampled a small portion of Fox’s repertoire of major works, including the last movement of Cesar Franck’s Grand Piece Symphonique, recorded on the Aeolian-Skinner organ in Philharmonic Hall, New York City. Virgil Fox, Wagner, Bach, Mozart, Elgar, Franck - Virgil Fox's Greatest Hits - balnalatelesupprosivadisbere.coinfo Music5/5(1). I was thrilled to find this disc on balnalatelesupprosivadisbere.coinfo The vinyl album version of "A Virgil Fox Christmas III" was a vital part of many Christmas seasons as I grew up. As an adult, I had a cassette copy of it which eventually was eaten by Mr. Jaws, my old tape player. I have been without it for many holiday seasons and Christmas hasn't been the same. Virgil Fox was born in Princeton, Illinois, on May 3, He was a child prodigy. At the age of ten, he was playing the organ for church services. At fourteen, he played his first organ recital before a cheering crowd of 2, people in Cincinnati. At seventeen, he was the unanimous winner of the Biennial Contest of the National Federation of Music Clubs in Boston, the first organist ever. Oct 22, · Profile of organ virtuoso Virgil Fox in light of recent organ spectacular in his memory at Riverside Church in Manhattan, where he worked from to ; photo (M). Find album reviews, stream songs, credits and award information for Virgil Fox Plays the Wanamaker Grand Court Organ - Virgil Fox on AllMusic -
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