Karol Mossakowski and Nathan Laube played at St. Thomas Aquinas and Christ the King.
Several pipe organs in Dallas are strongly influenced by the “neoclassical” movement in French organ building. Beginning in the 1920s, it aimed to meld more or less baroque choruses with bold, brassy reed stops and more romantic voices. Controversial then and now, the concept was intended to facilitate playing everything from baroque to modern music.
The Schudi was an effective exemplar of its time and aesthetic, and it was decided to preserve it with only minimal regulation and some shifting and additions of pipework. The new 14-stop Récit does seem to fill in welcome richness as well as new subtleties. Karol Mossakowski, trained in his native Poland and at the Paris Conservatoire, just last year was named organist of the great Parisian Church of St. Sulpice, where his predecessors included Charles-Marie Widor and Marcel Dupré.) and Maurice Duruflé . That he commands superb manual and pedal technique was immediately apparent, along with considerable flair.
That repertory was also conceived for quite reverberant churches. Although the generous proportions at Christ the King prompt expectations of sumptuous acoustics, sound-absorptive ceiling tiles prevent any but a bit of sonic bounce. The organ can also get quite aggressive, but Laube let it loose in just the right places and amounts. In general he managed its forces with more subtlety than any other organist I’ve heard there.
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