Nathan Laube
Press
Notices
CLEVELAND (2009 OHS National Convention) “Laube brought amazing clarity to
Karg-Elert’s intentionally chaotic depiction of the Inferno in the first
movement. He shaped the long, sensuous melody of the Canzone skillfully and
negotiated the stops and starts of the fugue with an
clear eye to its overall structure and direction. He played the entire recital from memory,
which was impressive…”
ClevelandClassical.com, July 2009
BIRMINGHAM “... [In
Duruflé’s Suite for Organ, Op. 5] he
impressed with his clean lines and transparent textures. He found the innate drama, introspection and
repose in the Prelude and complemented majestic chords with warbling runs in
the Toccata. In the [Duruflé] Requiem, Laube was the solid-as-a-rock
foundation, never dominating, always underscoring the chorus in perfect
balance.”
The Birmingham News, May 2009
TAMPA “‘... he could become one of the great
organists ... he is in a class by himself.’
‘... one of the most outstanding young artists of our time ... born for
one purpose – to play the organ as God intends it to be played.’”
Tampa Tribune,
February 2009
BIRMINGHAM “Laube painted a movement from Messiaen’s
La Nativité du seigneur with the all
the colors of the stained glass window on which the piece was inspired. Intense and radiant, this performance paid
appropriate homage to this great composer ... Bach’s Toccata and Fugue in E major ... blended power and transparency,
the fugue resembling a consort of recorders in crisp counterpoint ... Expect to
hear great things from [Laube].”
Everything Alabama, November 2008
CHICAGO “... Nathan Laube whipped up a storm with
Messiaen and Duruflé ... but it was his traversal of Bach’s G minor Fantasia and Fugue in G, BWV 542,
that cemented his artistry most permanently ... Laube was indefatigable in his
efforts to untangle Bach’s counterpoint.
He turned the extended fugue into a conversation, and his outstanding
control over the pedals allowed the bass to be a full actor in the drama.”
Time Out Chicago, August 2007