Bach Festival Explores Contrasts of Organ, Guitar

The opening of the Los Angeles Bach Festival at First Congregational Church this weekend seemed predicated on maximum contrast of expressive scale for a solo recitalist. On Friday, Frederick Swann exploited the full resources of the sanctuary organs; on Saturday, Paul Galbraith played a unique guitar in Shatto Chapel.

Swann, the new organist-in-residence at the church, compiled a representatively diversified Bach survey for the occasion. The pillars of his program were the B-minor Prelude and Fugue, BWV 544, the C-minor Fantasia and Fugue, BWV 537, and the mighty C-minor Passacaglia and Fugue, all played with a firm sense of linear momentum and structural detail.

Lighter, more dance-oriented spirits were apparent in Bach’s arrangement of a Concerto in G by Johann Ernst, BWV 592, played on the small continuo organ in the south transept, and the probably spurious Fugue “a la gigue,” BWV 577. The Chorale Partita on “O Gott, du frommer Gott,” BWV 767, three chorale preludes featuring the Schlicker organ in the rear gallery, and a modern transcription of the popular Sinfonia from Cantata 156 completed the rewarding, cannily paced agenda.

Swann’s registrations proved largely conservative, exploiting the spatial disposition of the instruments for tasteful echo effects. In encore, he offered--twice--a short, sly medley of greatest bits from Bach’s organ repertory.

At the other end of the intimacy scale was Galbraith. He plays a unique eight-string instrument, held like a cello and supported on a resonating box by an endpin. There does seem to be some extra sustaining power from this arrangement, but the main impression of the instrument--and of his playing--is of clarity and color rather than unusual volume or projection.

Galbraith did bring Bach, the Violin Sonata No. 2, BWV 1003, and the Prelude, Fugue and Allegro, BWV 998. His Bach here was nobly austere and articulate, and all the more powerful for its quiet poise and conviction.

After intermission, he opened up the expressive possibilities of his instrument with a set of Greek folk tune miniatures by Yannis Costantinides and the confidently stinging and singing Opus 1 solo Violin Sonata by Nikos Skalkottas. Haydn’s Piano Sonata in A flat Hob. XVI.46, closed the printed list of Galbraith transcriptions, followed by four encores.

Except in a faltering Granados encore, his work was assured and graceful. He often focused inward on soft and liquid playing, despite the hostile environment of a roomful of the squeakiest chairs anywhere.