The dedicatory organ recital given by master organist Hector Olivera at the Bethel AME Church on Saturday proved to be an evening of absolutely unbelievable virtuosity and musical genius.

The Fringe Festival concert, organised by the church's music department under the direction of music director and organist Sean Tucker -- himself a fine musician -- was held under the distinguished patronage of the Rt. Rev. Donald G.K. Ming, Bishop of the 1st Episcopal District of the AME Church, and presented in memory of his late wife, Sis. Edith White Ming.

The event celebrated the recent installation of a magnificent new Rodgers 835-B digital organ -- a comprehensive two-manual and pedal instrument of some 38 speaking Stops, complete with a Rodgers PR-300 MIDI Sequencer.

Mr. Olivera, a graduate of the Julliard School of Music in New York, was born in Buenos Aires, Argentina, and commenced playing the organ at age three. For over 30 years, his illustrious career has taken him around the world, and his many appearances have included solo engagements at Carnegie Hall, London's Royal Albert Hall, the Cathedral of Notre Dame in Paris, the Crystal Cathedral and the Privey Hall in Atlanta -- the latter as part of the international concert series for the 1996 Olympics.

Following a rousing introduction by Mr. Tucker, Mr. Olivera took the platform and immediately set the audience at ease with his delightfully charming and relaxed style. It was clear from the start that this was to be no ordinary organ recital, but rather a superb feast of musical expression, interwoven with a unique blend of humour and enlightenment, all performed from memory.

Mr. Olivera is famed for his orchestral playing, transcriptions and improvisational capabilities, all of which were finely demonstrated during the evening.

In the first half of the programme, following a brilliant Toccata by an unknown British composer, the organist performed a superb arrangement of J.S.

Bach's famous "Jesu, Joy of Man's Desiring'' (from the Choral No. 147). His ingenious arrangement used the Rodgers PR-300 MIDI Module to provide orchestral and solo voices. The resulting registrations provided a complete Baroque chamber orchestra for the accompaniment, comprising strings and harpsichord and a four-part Choir for the Choral. The result was beautiful and extraordinarily musical. Mr. Olivera's exquisitely sensitive phrasing and expression control brought a new level of musical appreciation to this sometimes overplayed and under-appreciated work.

The organist then proceeded with an absolutely stupendous performance of two of the most famous trumpet tunes for organ. The "Trumpet Voluntary,'' actually by Jeremiah Clark but occasionally attributed to Purcell, was followed by a brief "Air,'' which masterfully introduced the magnificent "Trumpet Tune in D'' by Purcell.

Musical `genius' on show at organ recital The riveting performance made masterful use of the organ's MIDI Orchestral Trumpet Voice, which was set against the fine Principal Plenums of the Rodgers. To the amazement of all, the percussion, cymbals, drums and timpani were played "live'' on the Great, whilst the magnificent "full swell'' presented the theme and accompaniment! Having seduced the audience with the luscious orchestral tonalities of the Rodgers and the PR-300, Mr. Olivera then changed direction and demonstrated the straight "classical'' tonal accuracy of the organ with a dazzling and breathtaking performance of the infamous "Prelude and Fugue in D Major, BWV 532,'' again by Bach.

This virtuosic piece, which includes very difficult passage work for the pedals, was dashed off with effortless ease, consummate musicianship and splendid rhythmical drive. The first half ended boldly with a superb symphonic arrangement of the hymn, "Stand Up, Stand Up for Jesus,'' in which Mr.

Olivera demonstrated the full capabilities of the organ and the PR-300.

More like a mini-symphony, the PR-300 performed much of the orchestral material, whilst Mr. Olivera played both the organ and the remainder of the orchestral parts, including much of the orchestral percussion. The result was just breathtaking.

The second half began with a brief introduction to the "Celeste'' family of organ voices (though not strictly a family, as Celestes really belong to the "string'' family). However, the introduction helpfully paved the way for a better appreciation of the gentle Andante from the "Fourth Organ Symphony'' by Widor (the famous Toccata is from the Fifth Symphony). Again, superb organ management, combined with a profound understanding of the composer's intentions, produced an authentic and most tasteful performance. Here too, the PR-300 Module supplied the necessary orchestral voices, such as the harp, just as would be occasionally available on a large American pipe organ.

Next up was a delightful performance of the tricky "Scherzo in E major'' from the Second Organ Symphony (Opus 20) by the famous French Composer, Louis Vierne, who was, until his death in 1937, the organist of Notre Dame de Paris.

The Widor and Vierne pieces nicely prepared the audience for the giant of the entire programme, the grand Pie nce He m roque by the French composer Ce m sar Franck, who was the organist of Saint Clothilde, also in Paris. (Vierne was a student of Franck's).

This warhorse of the grand French repertoire is notoriously difficult, not just technically, but musically; however, Mr. Olivera's pacing of the work was absolutely perfect, creating nail-biting tension and excitement that culminated in a magnificent Piu Lento on the "full organ'' for the last page.

What a sound! What a performance! Interestingly, Mr. Olivera specially prepared the Rodgers to replicate the exact sound of a very large French instrument, most of which contains a small degree of out-of-tuneness. The effect, although small, helped accurately recreate an authentic big French sound.

The programme concluded with two superb orchestral hymn arrangements, again each featuring the PR-300 MIDI Module. First was a superbly crafted arrangement of "Jesu, Joy of Man's Desiring,'' this time incorporating the melody of the famous hymn, "Blessed Assurance.'' The two melodies were introduced as first and second subjects, which were then developed, inverted and finally worked into a quasi Fantasia/Fugue.

The final work was a devastatingly brilliant arrangement of the famous hymn, "Joyful, Joyful.'' Again, the melody was developed, embellished, worked in canon and presented by the various departments of the organ and the Orchestra.

Superb modulation work and further development brought the piece to a grand conclusion in the classic French Toccata style, featuring plenty of virtuosic pedal work which included octaves, counter melodies and double trills.

A well-deserved standing ovation from the audience brought Mr. Olivera back to perform his most famous arrangement of all time, "And I will Enter His Gates.'' Words are useless to convey the power, majesty and glory of this work, the thought of which still sends chills up my spine! Again the Rodgers really showed its stuff, proving once and for all that digital organs have reached a high level of excellence and continue to offer unparalleled flexibility and astonishing value for money.

Suffice it to say, Shawn Tucker summed up the performance in one word -- actually the catch phrase of the evening: "Wow!'' The recital appropriately concluded with heartfelt thanks and a brief prayer led by Bethel's Pastor and Presiding Elder, The Rev. Malcolm Eve, after which all present were invited to a sumptuous reception in the hall below the Church.

The entire Church family of Bethel AME is to be congratulated on their new instrument and the brilliant success of this utterly outstanding concert.

Congratulations are also due to all those who obviously worked so very hard to make this event a reality. ADRIAN RIDGEWAY THEATRE REVIEW THR REV