On the evening of February 21st, Eric Plutz, the University Organist at Princeton University, performed at his first recital of the Spring semester. This recital, titled Lift Every Voice, featured the organ music of incredibly talented but often overlooked Black composers. According to Mr. Plutz, his goal when curating the program was to “[elevate] these historically marginalized voices in recognition of Black History Month”. When describing the organ itself, Mr. Plutz says that it “speaks with pipes both old and new - paying homage to its past, yet engaging its future”, making it the perfect instrument to celebrate these amazing works, both old and new.
The chapel was filled with a diverse crowd of Princeton faculty and staff, as well as alumni and members of the local community. Toward the front of the nave was a group of Chapel Choir members, including myself, who came to support Mr. Plutz because we feel so fortunate to have him as our accompanist at concerts and services. It was a wonderful experience to be able to sit in the audience and fully absorb the beauty of Mr. Plutz’s playing. I was especially awed by the split-screen projection at the front of the chapel, which allowed us to observe both Mr. Plutz’s hand and foot movements as he played. While watching his masterful playing, I realized that I often take for granted just how talented Mr. Plutz truly is—this experience reminded me to slow down and let the music wash over me.
The first piece in the program was Variations on “There is a Fountain” by Undine Smith Moore, which are inspired by the opening movement of Mendelssohn’s Sixth Sonata for Organ. Next was Betty Jackson King’s “Nuptial Song” and Florence B. Price’s Suite No. 1 for Organ, both of which are stunning pieces full of emotion. Then,
Mr. Plutz’s take on Robert A. Harris’s “Elegy for the Time of Change”, which was composed in part as a reaction to the horrific death of George Floyd in June 2020, mesmerized the audience. Although it was fully instrumental, the piece seemed to tell a story, inspiring in the listeners feelings of solace in a time of despair coupled with the possibility of greater peace and equality in the future.
After that, Mr. Plutz skillfully played the deeply meaningful pieces “His Eye is on the Sparrow” by Carl Haywood and “Reflections” by Ruth Norman. The penultimate piece was Sharon J. Willis’s Ascension Organ Suite, which comprises four movements: “Juba: SonRise”, “Elegy: Lamentation”, “Interlude: Prayer”, and “March Triumphant: The Bridge”, all of which are dedicated to key figures in the Civil Rights Movement. And, finally, the recital ended triumphantly with the Toccata on “Lift Every Voice”. For this piece, everyone was encouraged to sing along in harmony. As someone who is used to singing for an audience, it was enlightening to get to sing with them instead. There was a palpable sense of community, shared by each and every person in the chapel. It was the perfect way to end the recital—although I must admit that I didn’t want it to end.
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