Wednesday, July 18 , 2018, 2:22 am | Fair 64º


Music Club Concert Remembers Emil Torick

It is getting positively ecumenical out there, with musicians joining forces on all sides to honor and celebrate.

The latest example happens at 3 p.m. Saturday, Nov. 5, at Trinity Episcopal Church, 1500 State St, when the Santa Barbara Music Club, in cahoots with "[email protected]" and the American Guild of Organists, presents a free concert dedicated to the memory of Emil Torick.

Torick — one of the kindest, most generous music lovers I have ever known— was an ardent amateur violinist and organist.

Organist Steven Hodson, conductor of the Santa Barbara Master Chorale, opens with three "Toccatas" by Johann Pachelbel (1653-1756) and one by Dieterich Buxtehude (1637-1707).

Next, organist Thomas Joyce, Trinity's new(ish) minister of music, and cellist Joanne de Mars will play the "Sonata in a-minor for Cello and Organ, Opus 60" (1964) by Marcel Dupré (1886-1971).

That will be followed by Joyce and pianist Christopher Davis playing Alexandre Guilmant’s "Pastorale pour Harmonium et Piano duo, Opus 26" (1870).

Joyce will perform Enrico Bossi’s "Étude Symphonique for Solo Organ, Opus 78" (1897). Joanne de Mars then plays her own "For the Sea, for solo cello."

The program concludes with Paul Hindemith’s "Kleine Kammermusik for Wind Quintet, Opus 24, No. 2" (1922), played by Jane Hahn, flute; Louis Grace, oboe; Per Elmfors, clarinet; Paul Mori, bassoon; and Johann Trujillo, horn.

Considering the limited number of instruments employed, this is a far-ranging and fascinating program.

Pachelbel (rhymes with "cockleshell") is known for his sublime "Canon in D-Major," as Albinoni is known for his "Adagio for Strings and Organ" or Tartini for his "Devil's Trill" Violin Sonata."

But like those other composers, Pachelbel is no one-hit wonder. He wrote lots of pretty music, some of it quite grand.

If you've never heard Guilmant’s exquisite "Pastorale," you have quite a treat coming to you.

The Hindemith makes an unexpected, though perfectly legitimate, conclusion to the program. What he gave the title "Kammermusik" ("Chamber Music"), consists of eight works, seven of which were given numbers, "One" through "Seven" and the other he called "kleine" ("little").

Of the eight, only the first two, including the "Kleine," were written for what we would call chamber ensembles. The others are concerti, and require considerably larger forces. They differ quite a bit from each other.

No. 7, an "Organ Concerto", is creepy and Gothic; No. 4, a "Viola Concerto" is lively and neoclassical, with its counterpoint and momentum. The "Kleine" is quite modernistic in its elusive melodies and jaunty pace, but it is the gentlest modernism you will encounter. It is thoroughly delightful.

For more information on this or other Santa Barbara music Club programs and performing artists, visit

— Gerald Carpenter is a Noozhawk Contributing Writer.

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