While the numbers of people were few, the enthusiasm was unmistakable of those who were brave enough to come out to a concert in these frightening times of the coronavirus pandemic. There was no problem keeping a “social distance” from other audience members in the large sanctuary.
I’m speaking about yesterday’s absolutely phenomenal organ recital by Monica Czausz at Central Union Church in Honolulu, which may turn out to be the last we hear for awhile. Sadly, Monica’s scheduled concerts in Maui and Hilo were cancelled.
Her program opened with Bach’s “Prelude and Fugue in A minor, BWV 543,” and while Monica admitted that playing Bach on a 4-manual Aeolian-Skinner was not her favorite, her rhythmic drive propelled the music to a satisfying conclusion.
Next she played her own transcriptions of three Brahms piano pieces, the “Intermezzo in A minor,” “Intermezzo in A major,” and “Ballade in G minor.” These turned out to be some of my favorite works on the program, and I was amazed to hear all the subtle nuances and colors she brought to these piano works through her creative registration.
The first half ended with Naji Hakim’s colorful and fiery “Arabesques,” and was in this work that we saw Monica’s incredible and virtuosic technique and brilliantly imaginative registration.
The second half included Robert Schumann’s “Lebhaft” from the Fugen über Namen BACH; Sigfrid Karg-Elert’s “Sinfonische Kanzone,” and Antonin Dvořák ‘s “Carnival Overture,” in a brilliant transcription by Lemare/Czausz, bringing the audience to their feet in a sustained ovation. I can’t begin to count all the registration changes Monica executed, all the pistons she pushed—it was mind-boggling to think that she only arrived in Hawaii two days ago! And except for the Karg-Elert (which was her first time performing this piece), the whole program was played from memory! Wow!
L-R: Steven Severin, The Rev. Paul Lillie, The Rev. Karl Bachman, Margaret Lloyd, Elizabeth Wong, Monica Czausz, Katherine Crosier, Miki Yamamoto, Jieun Kim Newland
I’m only sorry that more people did not hear this concert. They missed an extraordinary experience.
What I’ll cherish the most, though, was the time we spent with Monica away from the organ—Thursday night dinner at the Burmese restaurant, the Friday night reception, and last night after the concert, Karl Bachman and I took Monica to Assaggio Italian restaurant. I’ll remember our late night, heartfelt conversations about family, performances, knitting, and friends and colleagues in common—lots of laughter and good times.
