Colin Lynch - The Organ of Stambaugh Auditorium, Youngstown, Ohio (2013)

Writes James Hildreth in the The American Organist May 2014:
Situated in unimpeded chambers behind the stage and speaking directly into the acoustically warm 2,553-seat Stambaugh Auditorium, this marvelous Skinner organ has been restored to pristine condition. Colin Lynch, winner of the Fort Wayne National Organ Playing Competition in 2010, performs a stunning program of English and French music that demonstrates the wealth of color, delicacy, power, and beauty of the organ. Three of Percy Whitlock's Five Short Pieces (Allegretto, Scherzo, Paean) open the program, demonstrating many of the lovely flutes, strings, and other colors. Roger-Ducasse's dramatic, epic Pastorale takes the listener through the full range of the organ's dynamic and tonal capabilities. Hubert Parry's Toccata and Fugue on "The Wanderer" (named for the composer's personal yacht) demonstrates the variety of diapason and ensemble tone (the Great and Swell have complete diapason choruses through mixtures based on 16' and 8' respectively) as well as the instrument's responsive action and contrapuntal capability.

Finally, we are treated to the entire Symphonie No. 6 of Louis Vierne. It is well known that Vierne was deeply enamored with Skinner's work, as Vierne experienced it firsthand during his North American tour. It is interesting to compare this superb example of American symphonic organbuilding with that of Cavaille-Coll (and his successors) through the performance of Vierne's symphony. While Skinner's chorus reeds are warmer and more blending than their aggressive, dominating counterparts of his French colleagues, there are many similarities in the broad foundations, mellifluous flutes, color reeds, and keen strings. What Vierne admired most about Skinner organ tone was its elegance, in addition to the relative ease of playing due to user-friendly consoles and responsive electric actions.

Colin Lynch is an impeccable performer with compelling musicality and technical command that brings clarity to the thorniest passages. He brings a combination of controlled excitement and formal lucidity in the virtuosic passagework, especially in the Parry, Vierne, and "storm section" of Roger-Ducasse. The Final of Vierne's Sixth pulsates with energy, the solid 32' Bombarde and Tuba Mirabilis capping off the impelling peroration. While American organs of this era and design are often associated with transcription playing or saccharine lollipops popular with audiences of the time, Lynch's program demonstrates the instrument's undisputed ability to perform serious original literature of the period in an authentic, convincing manner. The notion of murkiness and inability to deliver contrapuntal passagework with clarity is refuted here, with Skinner's clean voicing (beautifully preserved) and Lynch's deft, solid playing.

This is an invaluable documentation of an iconic representative of the American Symphonic Organ aesthetic. We can be grateful for the restoration of this instrument (and the preservation of the auditorium in which it sits) as well as players like Colin Lynch who understands its true character, bringing it to life.