Reviews

DECKER PLAYS DECKER (Vol.l): Sacred to Secular. Pamela Decker, organist. IV/79 Flentrop organ (1965) of St. Mark’s Cathedral, Seattle, Wash.; renovation and additions by Paul Fritts & Co., 1992/95. Loft Recordings LRCD 1053. Here is an opportunity to experience one of America’s most gifted composer-organists playing one of the country’s celebrated organs. Anyone who has scanned through Dr. Decker’s scores knows that her music is not for the faint of heart! She is a stunning virtuoso, and composes music that utilizes her formidable technical and musical abilities to the fullest. While much of the music is loud, fast, and furious, with thick, complex textures, Decker is also capable of creating quiet, introspective music, such as her Prelude on “Herzlich tut mich velangen” on this recording. Its quietly dissonant harmonies aptly evoke the emotions of the Passion. Other works include the boisterous Tango Toccata on a Theme by Melchior Vulpius (2001); the monumental Fantasy on “Ein’ feste Burg ist unser Gott” (2002); Retablos, a three-movement work based on the chants, “Pange lingua,” “Ubi caritas,” and “Victimae paschali” (1995-97); and an organ demonstrator commissioned by Wayne Leupold (here without narration) entitled Home Suite Home: Across America (2002). Decker is a most qualified interpreter of her own work. The Flentrop is an ideal instrument to convey her unique, compelling creations.
-The American Organist, June 2006, Volume 40, No.6 (James Hildreth)

“An organist noble in the Bach line…as a composer-performer she falls clearly into the lineage from which Bach and Duruflé are but two points on a long and distinguished timeline…Decker reveals both a thoroughly ingrained knowledge of the existing repertory and a formidable command of the instrument and its possibilities. lt’s precisely that virtuosity that comes to the fore in Kairos (1996) and Río abajo Río (1999), both of which gently push the boundaries of standard organ music. . . these works balance the freedom of spontaneous creation with the clear direction of a formal road map.”
-Gramophone Awards Issue 2006 (Ken Smith)

“With passion and precision Pamela Decker mastered the technically demanding compositions throughout the program and captivated her audience.”
-Gandersheimer Kreisblatt 09/20/06 (Wolfgang Martini)

“Pamela Decker’s triptych for solo organ, ‘Flores del Desierto,’ is a stunning composition. This is a work that is beautifully crafted and enjoyable to hear. The Loft recording, with the composer performing on the monumental Flentrop organ at St. Mark’s Cathedral in Seattle, Washington, is superb in every way. This recording shows Dr. Decker’s preeminence as both organist and composer.”
-James David Christie (2007)

“This [Liturgical Suite] is a skillfully composed work that is enjoyable to play and fascinating to hear. It is musical writing in the best sense of the world.”
-The American Organist February 2006 (Fred Swann)

“It’s rare to find a piece that is both elegant and dramatic at the same time, but this [Río adajo río] is one…exciting to listen to, an audience-pleaser, while still intellectually satisfying for the player.”
-Christa Rakich (prominent organ recitalist and recording artist), January 2006

“These are difficult works that require superb technique in both manuals and pedal, and Decker is more than qualified to perform them.”
-American Record Guide January/February 2006

“Organist Pamela Decker is a vibrant example of the composer-performer…She is a confident and purposeful performer throughout…the organ’s power and versatility is always masterfully employed. To Decker the organ is a playground of titillating sounds, but a grand instrument whose core registers never exhaust their interest.”
-Gramophone June 2005

“High standards of performance technique figure into her music, too…As complex as the interlocking lines may be, Decker as a performer never smudges a single thing…stunning double pedal passages…Decker plays it [Home Suite Home] with the authority you would expect. Pamela Decker’s music holds many rewards for performers and listeners alike. In the September/October 2001 issue of Fanfare, David Denton wrote of Decker, ‘I would hope that history will find a place for this gifted musician.’ If there is any justice in the world, we shouldn’t have to wait long for history to do its job.”
-Fanfare November/December 2005

“…presented with dramatic energy…played with flawless ease…convincing interpretation of classic literature.”
-Ronald Krebs, Convention Coordinator, Region V AGO Convention, 2005

“…remarkable technique was complemented by the interpretive security with which the American organist breathed life into all the works…”
-Rheinische Post, Straelen, Germany October 2001

“The final chords of the Fantasia leave the listener with a sense of astonishment that is monumental and compelling…”
-The Diapason, October 2000

“She plays effulgently and musically while restoring an important element into the equation: the player’s expressive contribution.”
-The American Organist, August 1992

“Decker’s performance is exemplary. She is captivating.”
-American Record Guide, November/December 1990