PipeChat Digest #1042 - Thursday, August 26, 1999
 
Re: Gabriel Pierne'
  by "Bud/Burgie" <budchris@earthlink.net>
Re: Virgil Fox 1950s
  by "Bud/Burgie" <budchris@earthlink.net>
Re: FSU School of Music
  by "Shawn Burgess-Keith" <TBirdRag@iserv.net>
Re: how to join?
  by "Lynn & Tom" <tom.lynn@sympatico.ca>
Re: Gabriel Pierne......
  by <Prestant16@aol.com>
Re: FSU School of Music
  by "N Brown" <Innkawgneeto@webtv.net>
Re: Need "Goin'Home"
  by "N Brown" <Innkawgneeto@webtv.net>
Re: Virgil Fox 1950s
  by "John  M. Doney" <jdoney@email.msn.com>
 


(back) Subject: Re: Gabriel Pierne' From: Bud/Burgie <budchris@earthlink.net> Date: Wed, 25 Aug 1999 14:35:17 -0700   I don't know the piece ... what EXACTLY does the composer call for? If he= calls for Fonds d' Orgue et Anches preparee, he means EXACTLY that ... start wi= th all the 8' flues drawn (coupled together?), and when he calls for the reeds, = Robert is indeed correct (though there's some debate about how MUCH upperwork to= add along with the reeds that has surfaced again recently). The mixtures (and sometimes the cornets) are on the Ventil side of the windchest, so you ce= rtainly have the choice of preparing them or not, but their presence in the Jeux = d' Anches would seem to indicate that they WERE drawn when the reeds were dr= awn, at least sometimes. It is said that the mixtures and cornets were added to t= he reeds because even C-C hadn't solved the problem of keeping the trebles as stro= ng as the mid-range and bass.   It should be noted that the sound of the Fonds in a fast movement is quit= e different in a reverberant French church ... in the piece Guilmant wrote = for the dedication of the organ at Notre Dame, he writes a harp effect for the Fl= ute Harmonique alone ... in those acoustics, it must have been quite believab= le. But I'm not sure that adding upperwork is the solution in a dead room in the = case of the Pierne.   Cheers,   Bud   Robert Horton wrote:   > On Wed, 25 Aug 1999, Randolph Runyon wrote: > > > I noticed that in Piern=C8's 3 pieces Op. 29 (Pr=C8lu= de, > > >Cantil=CBne, Scherzando de Concert) that the stop indications are on= ly for > > >unison (8') pitch. Does anyone out there know why he did this? > Carlo, > You have to understand a little about the organ where this was > played in order to interpret the registration instructions that he's > giving you. In the case of the C-C organ at St. Clothilde, "anches > preparees" most certainly includes more than just 8' pitch. > "Anches Recit" at the top of page 4 includes not only the > Trompette and Clairon, but also the Octavin 2' and Flute Octaviant 4'. > "Anches Positif" near the bottom of page 5 includes not just th= e > Trompett and Clairon, but also another 4', Doublette, Quinte, and > (depending on your sources) a mixture. Adapting the term "Anches Posit= if" > to a North American instrument is often the most challenging. Most Nor= th > American instruments give you nothing but a Krummyhorn. A better choic= e > is to simply add the Great Trumpet (even though it rightfully > belongs to the "Anches G.O.") and finish adding the G.O. Anches when it > asks for it. > "Anches Grand-Orgue" at the end includes the following battery = of > stops. Octave 4', Quinte 3', Doublette 2', Fourniture, Bombarde 16', > Trompette 8', and Clairon 4'. > There most certainly is more to it than just unison pitches! A= n > odd thing about this piece is that Pierne asks you to open the doors > before adding the Recit Anches. A more logical method of crescendo wou= ld > be to add the Swell Reeds and THEN crescendo sometime during the middle= of > page 5, leading nicely into the addition of the Positif reeds. > > > I'll be interested in the responses you get to this, but it's my > > understanding that in French music of this school 8-foots (feet?) > > predominate and that you should not use much in the way of 2' and Mix= tures. > Nope, your confusing France with Germany and the United States. > French organs most certainly do use 2' and Mixtures, along with a batte= ry > of reeds that will knock your socks off. > > > Think horizontally instead of vertically. A warm sound, more orchest= ral > > than brilliant. > Again, your confusing Cavaille-Coll with Ernest Skinner. While > the sound of a C-C is certainly very warm (especially in comparison to = the > neo-baroque screechers that we find on this side of the pond), C-C > certainly built vertical choruses and the composers definitely want the= m. > > Robert Horton - GTA, University of Kansas > http://falcon.cc.ukans.edu/~gemshorn > > "Does it change many dyslexics how to take a lightbulb?" > > "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: Virgil Fox 1950s From: Bud/Burgie <budchris@earthlink.net> Date: Wed, 25 Aug 1999 14:38:20 -0700     --------------49522FE4C8787F3C05C061C8 Content-Type: text/plain; charset=3Dus-ascii Content-Transfer-Encoding: 7bit   It is "Perpetuum Mobile" or something like that, and was written by Middleschulte, Fox's teacher. It was a Fox standard encore throughout his career.   Cheers,   Bud   Edward Marsh wrote:   > I am trying to locate the title of a piece of music written for solo > pedal that Virgil Fox played in a recital circa 1954/55 at St Mary's > Church, Redcliffe in Bristol UK. My Father, then a boy, recounts that > Virgil Fox was dressed in white, sporting a dark blue 'Dracularian' > cape! This piece, which has obviously made a lasting impression with > my father, (apparently) ends with a (manual?) glissando! Those of you > who might know Virgil Fox, or might have an inkling as to what this > work might be, I would very much appreciate your help. Furthermore, I > apologise for the incredible lack of detail! Edward--Edward Marsh BA > FRCO(CHM) > Director, NPC Records > http://www.nutcracker-productions.com > info@nutcracker-productions.com > edmarsh@lineone.net +44 (0) 191 285 4098 Phone > +44 (0) 191 285 2219 Phone/Fax > +44 (0) 789 975 8152 Mobile 3 Mayfield Road > Gosforth > Newcastle upon Tyne > NE3 4HE > England > UK   --------------49522FE4C8787F3C05C061C8 Content-Type: text/html; charset=3Dus-ascii Content-Transfer-Encoding: 7bit   <!doctype html public "-//w3c//dtd html 4.0 transitional//en"> <html> <body bgcolor=3D"#FFFFFF"> It is "Perpetuum Mobile" or something like that, and was written by = Middleschulte, Fox's teacher. It was a Fox standard encore throughout his career. <p>Cheers, <p>Bud <p>Edward Marsh wrote: <blockquote TYPE=3DCITE>&nbsp;<font color=3D"#000000"><font size=3D-1>I am = trying to locate the title of a piece of music written for solo pedal that Virgil Fox played in a recital circa 1954/55 at St Mary's Church, Redcliffe in Bristol UK. My Father, then a boy, recounts that Virgil Fox was dressed in white, sporting a dark blue 'Dracularian' cape! This piece, which has obviously made a lasting impression with my father, (apparently) ends with a (manual?) glissando! Those of you who might know Virgil Fox, or might have an inkling as to what this work might be, I would very much = appreciate your help. Furthermore, I apologise for the incredible lack of = detail!</font></font>&nbsp;<font size=3D-1>Edward</font><font = color=3D"#000000"><font size=3D-1>--</font></font><font = color=3D"#000000"><font size=3D-1>Edward Marsh BA FRCO(CHM)</font></font> <br><font color=3D"#000000"><font size=3D-1>Director, NPC = Records</font></font> <br><font color=3D"#000000"><font size=3D-1><a = href=3D"http://www.nutcracker-productions.com">http://www.nutcracker-produc= tions.com</a></font></font> <br><font color=3D"#000000"><font size=3D-1><a = href=3D"mailto:info@nutcracker-productions.com">info@nutcracker-productions= ..com</a></font></font> <br><font color=3D"#000000"><font size=3D-1><a = href=3D"mailto:edmarsh@lineone.net">edmarsh@lineone.net</a></font></font>&n= bsp;<font color=3D"#000000"><font size=3D-1>+44 (0) 191 285 4098&nbsp; Phone</font></font> <br><font color=3D"#000000"><font size=3D-1>+44 (0) 191 285 2219&nbsp; = Phone/Fax</font></font> <br><font color=3D"#000000"><font size=3D-1>+44 (0) 789 975 8152&nbsp; = Mobile</font></font>&nbsp;<font color=3D"#000000"><font size=3D-1>3 Mayfield Road</font></font> <br><font color=3D"#000000"><font size=3D-1>Gosforth</font></font> <br><font color=3D"#000000"><font size=3D-1>Newcastle upon = Tyne</font></font> <br><font color=3D"#000000"><font size=3D-1>NE3 4HE</font></font> <br><font color=3D"#000000"><font size=3D-1>England</font></font> <br><font color=3D"#000000"><font size=3D-1>UK</font></font></blockquote>   </body> </html>   --------------49522FE4C8787F3C05C061C8--    
(back) Subject: Re: FSU School of Music From: "Shawn Burgess-Keith" <TBirdRag@iserv.net> Date: Wed, 25 Aug 1999 17:58:19 -0400   <<First Methodist was a small unfinished three-manual Austin, ... >>   That organ was later finished, as when I inspected it almost a year ago, = it was a complete instrument. I don't remember any prep work still remaining. The scaling was too small for the room, though it would have done very nicely in a room half the size. It has recently been sold in favor of a = new instrument, but I don't remember who is building the new one. Last I knew, the Austin was still in the church, but may be gone by now.   There are a lot of great restaurants in the Tallahassee area, too. Especially if you like good seafood!   Shawn B-K    
(back) Subject: Re: how to join? From: "Lynn & Tom" <tom.lynn@sympatico.ca> Date: Wed, 25 Aug 1999 18:58:18 -0400   Check the bottom of your email, and you'll figure out how to unsubscribe. Just mail your email to requests@pipechat.org and put in the message body, unsubscribe pipechat, and you'll be unsubscribed.   Lynn Bannister tom.lynn@sympatico.ca -----Original Message----- From: James Welch <welchjb@ix.netcom.com> To: pipechat@pipechat.org <pipechat@pipechat.org> Date: Wednesday, August 25, 1999 4:37 PM Subject: how to join?     >I would like to unsubscribe, but can't figure out how. > >thanks, > >J Welch > > > >"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: =?ISO-8859-1?Q?Re:=20Gabriel=20Piern=E9......?= From: Prestant16@aol.com Date: Wed, 25 Aug 1999 21:57:28 EDT   I use the following:   Great: 8' Open Diapason (a very small scale stop, like a big Viola) 8' Hohl Flute (Basically a Melodia) 4' Wald Flute (Open wood flute)   Swell: 8' Salicional 8' Bourdon   Pedal: 16' Bourdon 8' Flute   Swell to Pedal Swell to Great     When the big chords come in I add the Great 4' Octave, and then the 2' and =   then the 12th, then the swell mixture (the great Mix it just to A-S like, = all flutes!). I sometimes add the Swell trumpet when I feel like it. At the = end it is almost on full organ with ONLY UNISON COUPLERS!!!!!! and for the final three chords I add the pedal 16' Trombone.   I think it sounds great on all 8' stops, I added the 4' Flute at the beginning for a little clarity, the room has about 3 1/2 sec. reverb.   An EXCELLENT recording of this piece is made at Mission Church here in Boston, on an 1899 Hutchings, reb. 1968 H. Lahaise & Son (new slider = chests) in consultation with Charles Fisk (tonal, new pipework), and then = "restored" 1996 by H. Lahaise and Son. So it is a pretty modern 3 manual organ, with =   the best pedal Trombone ever made, fiery Willis style reeds, the Big Hutchings principal chorus, a recently "restored" (on new slider chests) Choir division using the old choir pipework, and a modern Choir division = (in the same division, separate slider chest). Susan Armstrong-Oulette made a recording on the organ. It is worth getting, the room has NO carpeting whatsoever and about 5 sec. or more reverb. -William C.  
(back) Subject: Re: FSU School of Music From: Innkawgneeto@webtv.net (N Brown) Date: Wed, 25 Aug 1999 22:08:52 -0400 (EDT)   Best wishes Will for a wonderful year in Tallahassee. Sounds like you have quite a hefty semester ahead of you. --Neil    
(back) Subject: Re: Need "Goin'Home" From: Innkawgneeto@webtv.net (N Brown) Date: Wed, 25 Aug 1999 22:21:09 -0400 (EDT)   To Paul Swank: I attended church at Marble Collegiate Church in NYC back in 1996 and the wonderful baritone soloist sang that song. Perhaps give them a call. The director of music is a very nice young man, although his name escapes me just now. --Neil    
(back) Subject: Re: Virgil Fox 1950s From: "John M. Doney" <jdoney@email.msn.com> Date: Wed, 25 Aug 1999 22:29:11 -0000   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0107_01BEEF49.4159AE40 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   Edward - I bet you are referring to Perpetuum Mobile (Perpetual Motion) = =3D by Middleschulte (sp?) which was a Fox Favorite. He played it =3D everywhere.   JOHN   ------=3D_NextPart_000_0107_01BEEF49.4159AE40 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN"> <HTML> <HEAD>   <META content=3D3Dtext/html;charset=3D3Diso-8859-1 =3D http-equiv=3D3DContent-Type> <META content=3D3D'"MSHTML 4.72.3110.7"' name=3D3DGENERATOR> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT color=3D3D#000000 face=3D3D"Times New Roman">Edward - I bet you = =3D are referring=3D20 to Perpetuum Mobile (Perpetual Motion) by Middleschulte (sp?) which was = =3D a Fox=3D20 Favorite.&nbsp; He played it everywhere.</FONT></DIV> <DIV><FONT color=3D3D#000000 face=3D3D"Times New = Roman"></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#000000 face=3D3D"Times New =3D Roman">JOHN</FONT></DIV></BODY></HTML>   ------=3D_NextPart_000_0107_01BEEF49.4159AE40--