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A superficial analysis of organists

Karl Richter has always been at the top of my list for his incomparable performance of Bach's Passacaglia and Fugue in C Minor (and a host of other pieces) on that most magnificent of instruments, the Trinity Organ at Ottobeuren Abbey. I can't begin to fathom what it must be like to play on an instrument whose burnished tones have uplifted listeners since the eighteenth century, and would that a better recording of Richter's performance existed. Richter is not perfect by any means, but there's a certain something of the musical about his performances that makes up for his deficits - something that can't be said of Ton Koopman, whose craziness sadly does not conceal a transcendent musical temperament.

Quite simply, Ton Koopman sucks. There's not much more to say on the subject. He has a cult following of people who think his flat, monotonous choice of registration and inability to follow a metronome constitute some higher ideal of musicianship. "Historical accuracy", they call it - a dubious school of thought at best, right up there with Leslie Howard's flatulent discourses on the importance of the urtext. The occasional performance by Koopman that isn't utter trash is only bearable because of some factor extraneous to his playing - such as the innate qualities of the instrument. Why he has been permitted to call himself a musician for so long is a matter best taken up with the Dutch authorities.

After one has suffered through a Ton Koopman performance, one naturally seeks out Lionel Rogg, who is perhaps my favorite organist. There is never a dull moment with Rogg, whose brilliant choices of color are supplemented by a natural and highly polished artistry. Whereas Richter's music is aimed directly at the soul, Rogg is a master of all aspects of organ playing - from the purely technical to the musical in the abstract sense.

When one has Rogg and Richter - and, I might add, E. Power Biggs, Helmut Walcha, et al. - of what use is a maverick like Koopman? None at all, my friend, none at all.

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