Review of the  Ron Rhode Concert

Saturday, May 27, 2000 at 7:30 PM

  For the first concert of the year 2000 we welcomed Ron Rhode to the Bristol Paramount on Saturday May 27.  It is worth noting that the instrument on which Ron presented his program has been further enlarged since the beginning of the year by Chet Rataski, Crew Chief of the Paramount, who has added three additional electronically sampled ranks to the Main Chamber, comprising Oboe Horn, Quintadena and Horn Diapason, so that our Wurlitzer is now effectively a 3/17.  Ron made good use of the additonal ranks throughout his program.

   Having heard Ron Rhode play at several ATOS Conventions, most recently at Detroit and Indianapolis, I anticipated with some excitement hearing his performance at the Paramount. I was not disappointed.  Ron takes a highly professional and disciplined approach to his playing, his meticulous and flawlessly executed arrangements being matched by his thoughtfully planned registrations.  I was interested to hear his use of piano as accompaniment at several points, and he did not overwhelm the listener with frequent overly full ensembles but rather employed tastefully selected softer registrations. Avoiding the more overdone theatre organ standards he included some lesser known numbers such as "Wheels of a Dream" from "Ragtime."  In contrast was a complete presentation of Elgar's "Pomp and Circumstance No. 1" known to American audiences by its use at graduation ceremonies, but regarded with affection by our British cousins as almost a second national anthem.

   I believe it is generally known that Ron has a fondness for the music of Sigmund Romberg, and he did not fail us by including a "Student Prince Medley," as well as Romberg's "Leg of Mutton Rag.".   A low down burlesque style version of "Some of These Days" was well received by the audience, as was the old ballad beloved of opera singers, "Mattinata."    We are grateful to Ron for his exciting and polished performance, and for his complimentary remarks about our Wurlitzer installation, which he described as the "best kept secret in the State." I believe performances such as Ron's will help bring about a greater public awareness of our secret.

Don Macdonald

Saturday, October 28, 2000 at 7:30 PM

   Had not Walt Strony published his all encompassing "Secrets of Theatre Organ Registration" some years ago, I suspect that aspiring theatre organists would still be automatically reaching for flute and string on the Accomp. manual, overusing the 16 ft. pedal Diaphone, thoughtlessly flipping down the 4 ft Tuba on Solo, inflicting Posthorn overdoses on hapless audiences, and failing to have the Accomp. to Pedal tab permanently welded on. But the fitful progress that some of us make on our journey towards a more professional style of playing pales into insignificance when one hears Walt utilizing his own full spectrum of registrations in a well balanced theatre organ recital as we were privileged to do at the Bristol Paramount on October 28. Twice named Organist of the Year by ATOS, Walt's performance amply demonstrated the consummate technical skill and highly developed musicianship which earned him this honor.  Walt's familiarity and mastery of the tonal resources of the theatre organ enable him to play 4 manual 30 plus rank full scale organs and 2 manual 10 or 11 rank instruments with equal aplomb, as I witnessed personally at ATOS Indianapolis in 1997.  He adapted readily to our 3/17 Wurlitzer, and from his opening console raiser, Vincent Youman's "Hallelujah!" with fugue embellishments to his closing "Sound of Music" medley he played with style and finesse, not even being thrown off his stride when an errant stop tab took flight from the bolster rail in the middle of a number. His orchestral arrangement of "Battle Hymn of the Republic" was spine tingling, and his colorful version of "Tico-Tico" was one that Ethel Smith might well have envied. Walt's virtuoso technique in no way impairs his ability to inject emotion into his playing, as exemplified in a touching rendering of "Shenandoah."

   Most of us sooner or later decide to add to our repertoire "Nola", the catchy novelty number which one hears played frequently, but alas! rarely with accuracy of note and rhythm.  Walt described it as a kind of signature number for him, and his exciting arrangement with its numerous innovative key changes (not recommended for beginners!) may arguably be regarded as the definitive version of this number.   In conclusion I may say that Walt Strony delivered a performance of the highest quality, playing with energy and enthusiasm for an appreciative audience who accorded him a well deserved standing ovation.

   The Wurlitzer sounds better and better each time we hear it, thanks to the unflagging attention by Chet Rataski, Crew Chief at the Paramount, Mac Abernethy and Buddy Boyd, President, Piedmont Chapter, ATOS.

Don Macdonald

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