Review: DR. IAN AIPPERSPACH ORGAN RECITAL at Ouachita Baptist University in Arkadelphia

Education plays a vital role in shaping artists into extraordinary performers, which is why I always enjoy visiting universities to witness the incredible work our students are creating. This time, however, I had the distinct privilege of attending Dr. Ian Aipperspach’s organ recital at Ouachita Baptist University in Arkadelphia on Friday, Jan. 17.  

Now, I admit that I am not an expert in organ performance, but watching this recital was beyond captivating. Dr. Aipperspach’s skill and passion for the instrument were evident in every piece he performed. The intricate pieces and sheer range of expression he brought to life through the organ were truly inspiring. 

As noted in the program, the McBeth Recital Hall Organ was crafted in 1988 by The Reuter Organ Company of Lawrence, Kansas, as their Opus 2100. This impressive instrument features approximately 2,000 pipes. Its acquisition was made possible through the generous contributions of numerous music supporters. The primary gift came from Mrs. Katie Speer and Mr. Barry Findley, Trustees of The Roy and Christine Sturgis Charitable and Educational Trust based in Malvern, Arkansas. 

To open Dr. Aipperspach played a thrilling and virtuosic rendition of Amazing Grace by J. Christopher Pardini. Showcasing a dynamic interplay of power, energy, and expressive lyricism, he spotlighted his technical showmanship and dramatic expressiveness setting the tone and captivating the concert goers.  

Following the grandeur of the first piece, he continued on with Wie schon leuchtet der Morgenstern, BWV 739 by Johann Sebastian Bach, which is believed by scholars to be considered to be the oldest Bach manuscript in existence. This prelude, based on the well-known Lutheran hymn How Brightly Shines the Morning Star by Philipp Nicolai in 1598, showcased Dr. Aipperspach’s refined touch and deep musical sensitivity. Through his performance, Dr. Aipperspach demonstrated not only technical precision but also an insightful understanding of Bach’s expressive depth, making this a captivating contrast to the bold and energetic opening toccata. 

After a short talk in between pieces, Dr. Aipperspach welcomed Vocal Instructor Dr. Jed Kim, Tenor, to join him for Geistliche Lieder nach Gedichten von Eduard Mörike by Hugo Wolf, which was later arranged by Max Reger. This fascinating fusion of late-Romantic expressiveness and intricate contrapuntal textures set to Mörike’s poetry captured both the spiritual and lyrical nuances of the texts. Originally written as an art song for voice and piano, this duo added dimensions with sweeping modulations and intricate voicing.

I knew the audience was anticipating this performance, because I heard a few students whisper about how much they enjoyed Dr. Kim, and they were right. His performance was nothing short of mesmerizing. Dr. Kim’s warm, resonant tenor voice carried each phrase with lyrical sensitivity, effortlessly conveying the emotional depth of Mörike’s poetry. His precise diction and nuanced phrasing brought out the delicate interplay between text and music, allowing the audience to fully experience the spiritual and expressive qualities of the piece. 

Dr. Aipperspach provided a masterful accompaniment, seamlessly blending with Dr. Kim’s voice while adding depth through Reger’s rich harmonic textures. The duo’s interpretation showcased an exceptional balance between power and subtlety, with moments of soaring intensity followed by passages of hushed reverence. Their musical chemistry was evident, making the performance feel deeply connected and emotionally stirring. 

Once Dr. Kim took his leave of the stage, Dr. Aipperspach concluded his performance with a trio of deeply expressive and technically demanding works, each highlighting a different aspect of the organ’s vast capabilities. 

He began with Trois Chorales pour Grand Orgue – No. 3: Choral in A Minor by César Franck, a monumental work that served as a testament to the composer’s late-Romantic harmonic language and rich, symphonic textures. Dr. Aipperspach navigated its expansive lines and dramatic contrasts with remarkable control, building from the introspective opening to the triumphant, soaring conclusion. His interpretation captured both the introspective spirituality and grand intensity of Franck’s writing, drawing the audience into its deeply emotional narrative. 

Following this, he performed Rubrics (A Liturgical Suite for Organ) – Movement 4: The Peace May Be Exchanged by Dan Locklair. In contrast to the grandeur of Franck, this piece provided a moment of serene beauty, offering a meditative and almost ethereal atmosphere. Dr. Aipperspach’s delicate phrasing and sensitivity to the work’s flowing, chant-like melody created a sense of calm reflection, allowing the audience to experience a moment of stillness and peace. 

To close the recital, he delivered a striking performance of Hommage à Frescobaldi – VII. Épilogue sur un thème de Frescobaldi by Jean Langlais. This modern tribute to the Baroque master was definitely my favorite of the pieces. This rockstar organist did the biggest majority of this performance with just his feet—HIS FEET! It was like watching a dance that made powerful sounds come out of the massive pipes that shook the building. It was so cool! Dr. Aipperspach proved why he was hired to as a faculty member at OBU.  

Coming up in April for Dr. Aipperspach, he will be music directing their spring musical, Hello, Dolly. To learn about OBU’s amazing music and theatrical program, visit their website at https://obu.edu/music. 

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