PipeChat Digest #19 - Friday, August 1, 1997
 
 


(back) Subject: Re: Bach and Tempo From: SCoonrod@aol.com Date: Thu, 31 Jul 1997 08:40:44 -0400 (EDT)   As I am currently a student, all I can say is AMEN! I can't tell you how many times I have been made to "keep the tempo straight" even at the inner cadences of a piece (Bach et. al.). I like to add ornaments, too.   Certianly someone as creative and musical as Bach was (we hope) and gifted in improvisation would have approved of varried ways of interpreting the music.   I vote for Rubsam! All toe pedaling, and creative interpretation!!!   RandyT  
(back) Subject: Re: Tough Luck (short) From: Vernon Moeller <vernonm@ccsi.com> Date: Thu, 31 Jul 1997 09:05:39   It seems apparent now that I misread Tom's original letter, and after jumping to a couple of conclusions, presumed that he was auditioning for a job, not just for the opportunity to play occasionally as a substitute.   Sorry 'bout that!   However, I would advise Tom to take my massive tome from yesterday and FFR (file for future reference), as I still think I offered some pretty good advice (IMHO).   As far as his offering his services as a sub, I would like to suggest that he offer his services *to the pastor* in exchange for being allowed to occasionally practice on that church's instrument. I have done this on several occasions, when I found myself "between church jobs," and have always found that pastors welcomed such an offer. In exchange for being allowed to practice there, I always offered to do free funerals when needed, or even to sub for the regular organist during rehearsals. Fortunately, nobody ever took me up on my offer, so the benefits of this arrangement turned out to be quite one-sided in my favor.   I also think that perhaps the reason the organists he has spoken to have not contacted him is because they already have a favorite person or two upon whom they rely to provide substitute services from time to time. I know that I do, and if Tom (a total stranger) were to come to me and offer his services, I'd be polite and add him to my list, but due to his age and relative inexperience, I wouldn't call him until after I had called the rest of the list. After all, I don't think it is unreasonable to call upon one's friends first, is it?   Again, I'm sorry about my mixup, but I hope my advice in this letter will help to clear the air a bit.   \/\/\    
(back) Subject: Re: Bach and Tempo From: pniki@firstavenue.com Date: Thu, 31 Jul 1997 10:50:28 -0500   There is a difference between stretching the tempo and savouring the moment and arbitrarily changing the tempo. And the differences aren't that huge. When I am playing and teaching, particularly baroque music, I am always insistent that tempo changes must have an organic (no pun intended) relationship to the whole piece and that they *must make musical sense*. I had an experience trying to coach a student in a performance of the ornamented melody Nun komm der Heiden Heiland from the Leipzig Chorales. The basic tempo, if kept absolutely flowing and unperturbable (sp?), becomes a framework for considerable flexibility. Ultimately not a much different concept than rubato in a Chopin Nocturne. I had him spend a fair amount of time on two exercises. 1) playing it absolutely straight with no variance in tempo; 2) singing the melodic lines. The first accomplishes the goal of understanding where the rigid, rythmic foundations of lie. The second helps translate musicality to the most unmusical of all instruments. If you can't sing it musically, then as far as I'm concerned you can't play it musically. The reason? If you can't control the most intimate of all musical instruments, your own body, how in the sorld can you expect to control the least intimate of instruments?   Peter Nikiforuk     Message routed through FIRSTline's SMTP Gateway.   First Avenue Information Systems Inc. People. Solutions. Service. (519) 746-5630    
(back) Subject: Re: Wanamaker's From: aeolian@erols.com (Brian E. McLaughlin) Date: Thu, 31 Jul 1997 17:33:56 GMT   On Thu, 31 Jul 1997 02:45:09 -0400, you wrote:   >Is the big hurrah still on for this Saturday at Wanamaker's??? > My sources say yes, and I hope to be there!    
(back) Subject: Re: Tough Luck (short) From: John Sinila <js0059@epfl2.epflbalto.org> Date: Thu, 31 Jul 1997 13:51:49 -0400 (EDT)   Vernon, I was eaves-dropping on your initial letter to Tom and I really appreciate the powerful advice re: interviewing. It was a timely letter since I have an interview coming up shortly myself.   On Thu, 31 Jul 1997, Vernon Moeller wrote:   > It seems apparent now that I misread Tom's original letter, and after > jumping to a couple of conclusions, presumed that he was auditioning for a > job, not just for the opportunity to play occasionally as a substitute. > > Sorry 'bout that! > > However, I would advise Tom to take my massive tome from yesterday and FFR > (file for future reference), as I still think I offered some pretty good > advice (IMHO). > > As far as his offering his services as a sub, I would like to suggest that > he offer his services *to the pastor* in exchange for being allowed to > occasionally practice on that church's instrument. I have done this on > several occasions, when I found myself "between church jobs," and have > always found that pastors welcomed such an offer. In exchange for being > allowed to practice there, I always offered to do free funerals when > needed, or even to sub for the regular organist during rehearsals. > Fortunately, nobody ever took me up on my offer, so the benefits of this > arrangement turned out to be quite one-sided in my favor. > > I also think that perhaps the reason the organists he has spoken to have > not contacted him is because they already have a favorite person or two > upon whom they rely to provide substitute services from time to time. I > know that I do, and if Tom (a total stranger) were to come to me and offer > his services, I'd be polite and add him to my list, but due to his age and > relative inexperience, I wouldn't call him until after I had called the > rest of the list. After all, I don't think it is unreasonable to call upon > one's friends first, is it? > > Again, I'm sorry about my mixup, but I hope my advice in this letter will > help to clear the air a bit. > > \/\/\ > > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > Subscribe/Unsubscribe: mailto:requests@pipechat.org > >  
(back) Subject: Electronic Musician Magazine From: "Wm. G. Chapman" <wchapmn@ibm.net> Date: Wed, 30 Jul 1997 13:45:34 -0400   There is an article by Jim Miller in the magazine Electronic Musician (August 1997) that has an article on Sampling "Time Machines." This includes the Harpsichord, Clavichord and Pipe Organ.   At one point he wanted to create a "virtual pipe organ." But, to sample a dozen ranks (in stereo) requires 24 channels. The result would be the ability to play all of 5 notes on a (Emulator E4X) Synthesizer.   He challenges the notion of his readers that pipes are a "one-trick instrument." Then he admonishes electronic musicians to create new music with the "historic-keyboard" instruments. He closes by saying the to this age these ancient instruments may well become the "new and unusual" sound--"just the thing to get your audience to sit up and take notice."      
(back) Subject: Chamber vs. Case From: "Wm. G. Chapman" <wchapmn@ibm.net> Date: Thu, 31 Jul 1997 12:13:32 -0400   > Steve Lawson wrote:   > ... The carillon ... has the same type of tuning ... However, the sound of > those bells in a freestanding, open tower, does not benefit from the > "mix" when the bells are in a, say, traditional gothic-type tower with > bell chamber and louvers. >   :-)   I am sorry but I can not resist.   Just who said chambers are bad?    
(back) Subject: CD Recording From: "Peter Lenox" <PLenox@msn.com> Date: Thu, 31 Jul 97 19:44:36 UT   Dear friends of the "King of Instruments":   Here's an update to the posting a few weeks ago about the CD recording which was released this past summer of a Mass recorded at St. Charles Seminary in Philadelphia, PA on the 4th Sunday of Easter with the St. Charles Schola and a few selected motets, entitled "Exiit qui Seminat," the motto of the seminary. The organ is a beautiful 4-37 1927 four manual Moller (Opus 4973) of symphonic quality and is housed in our St. Martin's Chapel, which is, to quote Jack Bethards, "one of the most beautiful and resonant rooms in America." The choir, headed by Mr. Mark Bradford, a Westminster Choral College graduate, and the organist, Rev. Mr. Gerald Carey, also a Westminster grad, is magnificent, and the sound is extraordinary. Performing with the Organ and Choir are a brass ensemble and a harpist. Here's the track listing: MUSIC FOR THE CELEBRATION OF MASS 1. Prelude: Choral in E, by Joseph Jongen 2. Introductory Rites: a. Christ is Arisen, by Randall DeBruyn b. Vidi Aquam, Plainchant c. Gloria, from the Heritage Mass by Owen Alstott 3. Presentation of the Gifts: Cantique de Jean Racine, by Gabriel Faure 4. Acclamations of the Eucharist: a. Sanctus, from the Hertiage Mass by Owen Alstott 5. Rite of Communion: a. The Lord's Prayer and Doxology b. Agnus Dei, from the Heritage Mass by Owen Alstott 6. Faith, Hope and Love, by C. Alexander Peloquin 7. Ave Maria, by Franz Biebl 8. Concluding Rite and Recessional: a. The Old 100th, by Ralph Vaughan Williams b. Toccata in f, by Charles-Marie Widor   SELECTED MOTETS 9. Bless the Lord, O My Soul, by Mikhail Ippolitov-Ivanov 10. Salvation is Created, by Pavel Tschesnokoff 11. O Sacrum Convivium, by Roberto Remondi 12. Ave Verum, by Alfred J. Dooner 13. Blessed be the Lord, by Thomas Tallis 14. Christus factus est, by Pietro Yon 15. Regina Coeli, by Antonio Lotti   Here's the organ specification for the organ on the CD, our 4-37 Moller Opus 4973 (1927) GREAT 16' Double Open Diapason 8' Major Open Diapason 8' Second Open Diapason 8' Gross Flute 8' Melodia 8' Gemshorn 8' Dulciana 4' Octave 4' Harmonic Flute 2 2/3 Twelfth 2' Fifteenth III Mixture 8' Trumpet Great to Great 16' Great Unison Off Great to Great 4'   SWELL 16' Bourdon 8' Open Diapason 8' Orchestral Flute 8' Gedeckt 8' Viole d'Orchestre 8' Viole Celeste 8' Salicional 4' Flute 16' Contra Fagotto 8' Cornopean 8' Vox Humana 8' Oboe Swell to Swell 16' Swell Unison off Swell to Swell 4'   CHOIR 16' Contra Violone 8' Violin Diapason 8' Violon Cello 8' Concert Flute 8' Unda Maris 8' Viole D'Amour 4' Violina 4' Flute D'Amour 2' Piccolo 8' Clarinet Choir to Choir 16' Choir Unison Off Choir to Choir 4'   SOLO 8' Stentorphone 8' Philomela 8' Gross Gamba 8' Gross Gamba Celeste 4' Waldflute 16' Tuba Sonora 8' Trumpet 8' French Horn 8' Orchestral Oboe 4' Clarion Solo to Solo 16' Solo Unison Off Solo to Solo 4'   PEDAL 32' Resultant 16' Open Diapason 16' Small Open Diapason 16' Violone 16' Bourdon 16' Lieblich Gedeckt 8' Bass Flute 8' Flauto Dolce 16' Trombone 8' Tuba Sonora   COUPLERS All manual couplers, 8 & 4, to Pedal Solo to Swell 8' All manual couplers, 16, 8 & 4, to Great Swell 8 & 4 to Choir Solo to Choir 8'   Expression Pedals for all divisions Crescendo Pedal Szforzando   The price is $12.95 per CD & I now have ordering forms which I can download to anyone interested. Hopefully, the proceeds can become part of our organ restoration fund for the Moller. If you know of anyone who would be interested in donating funds toward the organ project or of any organization that can help us restore this beautiful instrument (which by the way is in 80% working condition on the recording) please do not hesitate to let me know. My E-Mail address is PLenox@msn.com, and the address of the seminary is: St. Charles Borromeo Seminary, Overbrook 100 East Wynnewood Road Wynnewood, PA 19096 (610) 667-3394 Thank you in advance for your attention, and if you are interested in the CD, please let me know. For those who have already contacted me regarding purchase, I now can download forms to you, and shall do so.   May God bless all abundantly, Peter F. Lenox  
(back) Subject: Re: Bach and Tempo From: Victoria Moore <moorehse@midwest.net> Date: Thu, 31 Jul 1997 14:47:34 -0500   keep all emotion out of it. Play from your heart and soul, not your metronome!   Victoria J. Moore  
(back) Subject: Dictionary of Pipe Organ Stops From: "Peter Lenox" <PLenox@msn.com> Date: Thu, 31 Jul 97 20:02:31 UT   Hello all:   Like Jacquelyn Royal, I too am looking for Stevens Irwin's Dictionary of Pipe Organ Stops, or something similar. Does anyone know where I can obtain a copy?   Peter F. Lenox EMail: PLenox&msn.com  
(back) Subject: Re: Dictionary of Pipe Organ Stops From: cremona84000@webtv.net (bruce cornely) Date: Thu, 31 Jul 1997 16:48:25 -0400   Since the Stevens Irwin book is evidently out of print, may a recommend the book, "The Johnson Organs" by John Van Varick Elsworth, published by the Boston Organ Club. These is, in addition to the wondersul history and stoplists (with pictures), a dictionary of organ stops used in Johnson organs. These are basically all of the stops used in contemporary organs (with the exception of all the various national translations of the same stops. In addition, there are two tapes available called, I believe "A Johnson Oddessy" by Susan Armstrong. I have listened to these tapes until I can almost see trough them, and never tire of hearing these gentle instruments played so that individual stops and combinations are heard. These, too, are available through OHS. I recommend this as a starting point. Another book (?in print?) is Pipe Organ Registration" by Jack Goode (pub by Abingdon Press). It goes into registration and playing styles of various national schools in a general sense. Again, it containes a dictionary of organ stops and national cross referencing. Also, it is not expensive. Good luck to all. I'm going to keep my book for now, I think! (sentimental, you know)   end   o o Bruce Cornely o o o o ______________ o o OHS ======================== AGO  
(back) Subject: Re: Wanamaker's From: DudelK@aol.com Date: Thu, 31 Jul 1997 19:10:02 -0400 (EDT)   The posting from July 12 on PIPORG-L lists the festivites as taking place on August 6 at 10 am with organ, chorus and brass, and on August 9 with concerts at 11:30 and 2:30 and a special concert with the Philadelphia Organ Quartet at 5 pm.  
(back) Subject: Re: Wanamaker's - Correct opening date ???? From: kwkeller@juno.com (KARL W KELLER) Date: Thu, 31 Jul 1997 19:27:26 EDT   Several members seem to have information contrary to what was posted to the List by Claire Whiting on Friday, July 11, 1997. Clair wrote that the Lord & Taylor store would reopen on Wed. August 8, 1997with a GRAND OPENING which will include the organ and a full chorus and brass ensemble. ON SAT. AUGUST 9, 1997 the WANAMAKER ORGAN will be featured in THREE concerts - one at 11:30 am, the second at 2:30 pm, and the third at 5pm which will be an expanded concert featuring the Philadelphia Organ Quartet. Peter Conte will preside at the Wanamaker console while the other 3 members of the quartet will have to be satisfied with Allen organs.   Karl Musica est Dei donum optimi  
(back) Subject: Re: Dictionary of Pipe Organ Stops From: "Wm. G. Chapman" <wchapmn@ibm.net> Date: Thu, 31 Jul 1997 16:25:10 -0400   bruce cornely wrote: > > Since the Stevens Irwin book is evidently out of print ...   Bruce:   There is, of course, the critically acclaimed and quite scholarly "Del Castillo's Alphabetical Primer of Organ Stops."   :-)   Bill    
(back) Subject: Re: Dictionary of Pipe Organ Stops From: cremona84000@webtv.net (bruce cornely) Date: Thu, 31 Jul 1997 20:07:22 -0400   "Critically acclaimed and quite scholarly.." Does that also translate to "quite expensive??   Bruce Cornely ============ o o o o ============== o o o ______________ o o o o o o ______________ o o o OHS ======================== AGO  
(back) Subject: Casavant Pics now available From: Giwro@aol.com Date: Thu, 31 Jul 1997 20:54:00 -0400 (EDT)   Dear Pipe-chatters,   A few weeks ago I shared with you my impressions of a visit to see and play the IV/125 Casavant at Lake Avenue Congregational Church in Pasadena, CA. The pictures I took have been developed, and I can send them to anyone who is interested (as long as you can accept file attachments to email). If you are a Mac user, you'll get them one by one. Same thing for IBM/PC users, unless you have a way to unZIP files. I could also send them as a self-extracting .EXE file if anyone wants to accept them that way. There will be 4 pictures available:   1) Closeup of the case looking up at the chamades 2) View of case & console from R. balcony 3) Close-up of console 4) yours truly at the console   Please let me know via PRIVATE EMAIL   1) Which pictures you want 2) How you want 'em (JPG or TIFF) 3) ZIPped, EXE or individually   **************   Jonathan  
(back) Subject: Question re TO unification From: CDKrug@aol.com Date: Thu, 31 Jul 1997 22:00:08 -0400 (EDT)   Would not the sound of a TO benefit from the elimination of unification?   I'm imagining every stop tab, at least in the tibia's, having its own rank.   Would this improve the sound or would it ruin the ideomatic quality of the instrument.   Any thoughts?  
(back) Subject: Re: Bach and Tempo From: "Roger" <pamnroy@wolfenet.com> Date: Thu, 31 Jul 1997 19:14:38 -0700   I am really quite surprised that this thread has gone on this long without someone quoting Virgil Fox on the subject. I can't remember his exact words--but I do recall them being rather forceful.   ---------- > From: Victoria Moore <moorehse@midwest.net> > To: pipechat@pipechat.org > Subject: Re: Bach and Tempo > Date: Thursday, July 31, 1997 12:47 PM > > I myself am not the most accurate of persons when it comes to tempo, and neither is my father, but I must say that little stretches here and there are necessary to play real music. Now I play the violin, not the organ, but my father plays the organ, so I here a lot of it. Try to consider that Bach was German, and so would be rather stubborn. I really don't think that changing the tempo is necessary, and one should try to keep a steady beat when at all possible (I am told that often) but not keep all emotion out of it. Play from your heart and soul, not your metronome! > > Victoria J. Moore > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > Subscribe/Unsubscribe: mailto:requests@pipechat.org  
(back) Subject: Re: Wanamaker's - Correct opening date ???? From: David Scribner <david@blackiris.com> Date: Thu, 31 Jul 1997 21:21:35 -0500   >Several members seem to have information contrary to what was posted to >the List by Claire Whiting on Friday, July 11, 1997. Clair wrote that >the Lord & Taylor store would reopen on Wed. August 8, 1997with a GRAND >OPENING which will include the organ and a full chorus and brass >ensemble. ON SAT. AUGUST 9, 1997 the WANAMAKER ORGAN will be featured >in THREE concerts - one at 11:30 am, the second at 2:30 pm, and the third >at 5pm which will be an expanded concert featuring the Philadelphia Organ >Quartet. Peter Conte will preside at the Wanamaker console while the >other 3 members of the quartet will have to be satisfied with Allen >organs. > I belong to the Friends of the Wanamaker Organ and we received a postcard announcing the grand reopening. It is not this weekend but the following weekend. I don't have the card anymore, threw it out since there was no way of getting up to it, so I don't have the dates in front of me. The dates Karl posted are slightly wrong, since tomorrow, Friday is the 1st, there is no way that the 8th is next wednesday. I think the reopening is next Wednesday, the 6th or maybe Thursday the 7th. I just wish that I hadn't thrown out the card this past weekend, that will teach me to get rid of something.   David   ********************************** David Scribner Black Iris Consulting 4775 Balmoral Drive Pensacola, FL 32504-9174 850-478-9635 - Voice 850-476-0711 - Fax david@blackiris.com      
(back) Subject: Re: Question re TO unification From: danbel@earthlink.net Date: Thu, 31 Jul 1997 20:05:35 -0700 (PDT)   At 10:00 PM 7/31/97 -0400, you wrote: >Would not the sound of a TO benefit from the elimination of unification? >   Hardly!   This is just the opinion of a lowly organist, but, IMHO there is NO SUCH THING as TOO much unification on a theatre organ! :)   Dan Bellomy    
(back) Subject: Re: Question re TO unification From: David Neal <david@neal.u-net.com> Date: Fri, 01 Aug 1997 07:59:19 +0100   At 10:00 PM 7/31/97 -0400, you wrote: >Would not the sound of a TO benefit from the elimination of unification? >   Whether some organists regard unification as an imperfection or not, it is clearly a *charactistic* of a theatre organ. I understand that the 'Blackpool' sound features a lot of 1-3/5' Tibia which comes from the fact that it is not a separately voiced rank, just a two-and-a-bit-octave coupler ;-)   Regards   David   =============================================================== David J Neal, Wrexham, Wales, UK home: david@neal.u-net.com work: dneal@yale.ac.uk ===============================================================