PipeChat Digest #969 - Saturday, July 3, 1999
Strand Theatre, Plattsburgh
  by "Bonnie Beth Derby" <orge@dreamscape.com>
Medinah Temple-Chicago
  by "jchabermaas" <opus1100@theatreorgans.com>
  by "Judy A. Ollikkala" <71431.2534@compuserve.com>
organ concert.....
  by "Carlo Pietroniro" <concert_organist@hotmail.com>
Fw: New Web Site Offering...
  by "VEAGUE" <dutchorgan@svs.net>
Worcester Wednesday - Wow!!
  by <ManderUSA@aol.com>
Re: Fw: Wish me luck
  by <DRAWKNOB@aol.com>

(back) Subject: Strand Theatre, Plattsburgh From: "Bonnie Beth Derby" <orge@dreamscape.com> Date: Fri, 2 Jul 1999 21:49:53 -0400   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0019_01BEC4D4.D16DD6E0 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   Hi all,   I was given some LPs from a Reader's Digest recording titled ``The Organ = =3D Plays Golden Favorites''. They are in excellent shape and contain the =3D following:   Dick Liebert at the Palace Theatre Wurlitzer Orham, Rochester, NY Dick Liebert at the Radio City Music Hall Organ, NY City Billy Nalle at the Strand Theatre Wurlitzer Organ, Plattsburgh, NY Billy Nalle at the Orbits Wurlitzer Organ, Senate Theatre, Detroit, =3D Mich. Richard Purvis at the Aeolian-Skinner Organ, Symphony Hall, Boston, =3D Mass. Richard Purvis at the Organ in Grace Cathedral, San Francisco.   Is the Wurlitzer in Plattsburgh still ``up and running''?   Cheers, and happy 4th.....   Bonnie Beth Derby Producer & Host ``Orgelwerke'' & ``Choral Traditions'' WCNY-FM, 91.3; Syracuse; WUNY-FM, 89.5, Utica; WJNY-FM, 90.9, = Watertown=3D20 Organist, First Church of Christ, Scientist, Syracuse orge@dreamscape.com   ------=3D_NextPart_000_0019_01BEC4D4.D16DD6E0 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META content=3D3D"text/html; charset=3D3Diso-8859-1" =3D http-equiv=3D3DContent-Type> <META content=3D3D"MSHTML 5.00.2314.1000" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT face=3D3DArial size=3D3D2>Hi all,</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>I was given some LPs from a Reader's = =3D Digest=3D20 recording titled ``The Organ Plays Golden Favorites''.&nbsp; They are in = =3D   excellent shape and contain the following:</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Dick Liebert at the Palace Theatre = =3D Wurlitzer Orham,=3D20 Rochester, NY</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>Dick Liebert at the Radio City Music = =3D Hall Organ, NY=3D20 City</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>Billy Nalle at the Strand Theatre =3D Wurlitzer Organ,=3D20 Plattsburgh, NY</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>Billy Nalle at the Orbits Wurlitzer = =3D Organ, Senate=3D20 Theatre, Detroit, Mich.</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>Richard Purvis at the Aeolian-Skinner = =3D Organ,=3D20 Symphony Hall, Boston, Mass.</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>Richard Purvis at the Organ in Grace = =3D Cathedral, San=3D20 Francisco.</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Is the Wurlitzer in Plattsburgh still = =3D ``up and=3D20 running''?</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Cheers, and happy = 4th.....</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Bonnie Beth Derby<BR>Producer &amp; = =3D Host=3D20 ``Orgelwerke'' &amp; ``Choral Traditions''<BR>WCNY-FM, 91.3; Syracuse; =3D WUNY-FM,=3D20 89.5, Utica; WJNY-FM, 90.9, Watertown <BR>Organist, First Church of =3D Christ,=3D20 Scientist, Syracuse<BR><A=3D20 href=3D3D"mailto:orge@dreamscape.com">orge@dreamscape.com</A></FONT></DIV><= =3D /BODY></HTML>   ------=3D_NextPart_000_0019_01BEC4D4.D16DD6E0--    
(back) Subject: Medinah Temple-Chicago From: "jchabermaas" <opus1100@theatreorgans.com> Date: Fri, 2 Jul 1999 20:42:55 -0500   The future of Medinah Temple and its' 5M Austin organ will remain undetermined for at least another 9 months according to agreement between the Shriners and the mayors office. This is to allow time to find other alternatives to the future of the Medinah Temple site and the adjacent Tree Studios artist complex other than sale to a hi-rise developer who would tear down the historic = buildings. Hizzoner d'mayor would prefer to see these historic edifices preserved rather than have the Temple replaced with a hi-rise parking garage.   jch      
(back) Subject: Oswego From: "Judy A. Ollikkala" <71431.2534@compuserve.com> Date: Fri, 2 Jul 1999 22:34:25 -0400   I just came back on-line after an incredible Worcester Region I AGO Convention doing the Transportation buses. In a digest posting Oswego NY was mentioned. Is there still an old Casavant Opus 69 in St. Louis Church there? I would love to see and hear it sometime. Judy Ollikkala  
(back) Subject: organ concert..... From: Carlo Pietroniro <concert_organist@hotmail.com> Date: Fri, 02 Jul 1999 22:47:01 EDT   greetings,   I'm giving a concert tomorrow night at Mary Queen of the World Cathedral here in Montreal. Nothing big, but I thought you all might =   like to see the program.   Prelude Op.29--->Gabriel Piern=E9 P=E2cques Fleuris--->Alphonse Maill=E9 Victim=E6 Paschali--->Charles Tournemire Nimrod--->Elgar (Bish arr.) Les Cloches de Hinckley--->Louis Vierne   Variations on a theme by Paganini--->Thalben-Ball A Gothic Cathedral--->Pratella/Weaver Toccata--->John Weaver Flute Solo--->Thomas Arne Second Concert Study--->Pietro Yon   Carlo     ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com  
(back) Subject: Fw: New Web Site Offering... From: "VEAGUE" <dutchorgan@svs.net> Date: Fri, 2 Jul 1999 22:09:52 -0500   The Kirk organ is comprised of pipes and Allen voicing.   -----Original Message----- From: Terry Charles <tcorgan@gte.net> To: pipechat@pipechat.org <pipechat@pipechat.org> Date: Friday, July 02, 1999 4:30 PM Subject: New Web Site Offering...     >www.kirkorgan.com > > >"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: Worcester Wednesday - Wow!! From: ManderUSA@aol.com Date: Sat, 3 Jul 1999 00:58:56 EDT   Dear Lists,   The first musical event of this day for me, I having worked in the hotel while the workshops were going on, was just one more amazing event = organized by Astonishing Worcester Team, Inc. It would be off topic to this list to discuss the history of Worcester's Mechanics Hall, other than to say that = in 1977, this truly glorious hall reopened after a meticulous restoration. At =   that point, an earlier Worcester Team, perhaps equally astonishing, from = the Worcester AGO Chapter, with the late Stephen Long cracking the whip, did = what it took to persuade whomever had to be persuaded that the 1864 E. & G. G. Hook instrument should be restored, which meant faithfully restoring also = the original mechanical action, which had been electrocuted in 1923. Anyone = who has been through a major organ project knows about the frustrations that = are inevitable, but these people were dealing with government bodies, = presumably, which doubles the equation, at the least. They fought the good fight, and perhaps it has never been clearer than on this day, that the battle was = well worth it.   This event was like a "pops concert," complete with lunch, which we picked = up in brown bags on the way in, and ate at the round tables placed around the =   room. Richard Jones, who managed this hall for a lot of years, and whom I remember well from previous visits, was invited to return to MC what was labelled as "Organ Plus: A Concert of Music for Organ and Instruments." Richard spoke of difficulties at the time of the original installation of = the organ, and the fact that the architect and committee in the 1860s = conspired to push the organ rather far back in in chamber, over Mr. Hook's strong objections, thereby robbing it of the commanding presence an organ this = size should enjoy. One has to adjust expectations in listening to the = instrument, but that is not too great a problem, in the very fine and sensitive = acoustic, and Richard wisely pointed out that on this day, the organ was perhaps = doing what it does best, playing with other instruments. The meticulous restoration, including a "re-trackerizing" with the addition of a Barker machine, was undertaken by Fritz Noack, and completed in 1982. I remember being aware at the time of the amount of thought and research that went = into that project. Well, here is what we heard, needing very little comment. = You can tell from just reading it how brilliant was this program in its conception and organization.   Robin Dinda . . . Septimi Tempi (1995), a great, upbeat, bit of perpetual motion, played by Catherine Rodland, with the Paramount Brass. Mr. Dinda = was in attendance.   Roger Bourland . . . Cantilena (1986), a gorgeous partnership between = organ and flute, played by Fenwick Smith (BSO) and Peter Sykes.   Calvin Hampton . . . . Variations on Amazing Grace (1983), played by = Robert Sheena, English Horn and Mark Steinbach, Organ.   Gardner Read . . . . from Sinfonia da Chiesa, Opus 61b (1972), Movement 3, =   Ricercare, The Paramount Brass and Catherine Rodland, Organ   Chris DeBlasio . . . . God is Our Righteousness (published posthumously in =   1997) played by Peter Clemente, Guitar and Peter Sykes, Organ. Only a most =   skillful composer could have made this improbable combination work, and = work it does. Peter Clemente used a gentle bit of amplification, but it was = just a touch, and sounded o.k. Other works on today's program might well be available on recordings, but I can speak only for one for which I attended =   the recording session, including both "God is Our Righteousness" and the Amazing Grace variations, performed, in both cases, by the players for = whom they were written. The Hampton was written for Harry Huff and Thomas = Stacey, English Horn (NYPhil.), and the DeBlasio also for Harry Huff, and the Guitarist Nicholas Goluses, both on a 1994 BMG Catalyst recording called Memento Bittersweet, No. 09026-61979-2.   Daniel Pinkham . . . . Odes (1998): 1. Ode to the vigil at twilight, 2. = Ode to the stillness of the night, 3. Ode to the dawning of the new day. FIRST PERFORMANCE, "composed in honor of Marie-Claire Alain, on the occasion of = the Region 1 Convention of the American Guild of Organists, Worcester, Massachusetts, June 1999." The composer and the dedicatee were in = attendance. This wonderful new work was played by Robert Sheena, English Horn, and = Mark Steinbach, Organ.   Carlyle Sharpe . . . . Confitemini Domino (1997), played by The Paramount Brass, with Catherine Rodland, Organ. This work was commissioned for last summer's AGO National Convention in Denver.   It is daunting to think of the amount of rehearsal time that went into all = of today's ensemble performances. All the performances were absolutely first rate. Peter Sykes, whom I have heard with pleasure many times, and = Catherine Rodland and Mark Steinbach, whom I have never heard, all bring great honor = to our profession. The Paramount Brass, whom we heard in two programs in this =   convention, are really wonderful, without any of the "shtick" so much an often-distracting part of performances by some brass groups, who seem not = to have confidence in the music and playing to speak for themselves. Try www.paramountbrass.com, if you are interested. Robert Sheena and Peter Clemente gave superb performances, and the organ was perfect and beautiful = to hear in its supporting role.   We were bussed to Assumption College, and then I attended my first = workshop!! There has been much discussion on the American Pipe Organ lists on the Internet about popular music vs. "traditional" music in church, and while = I, in the church I serve, am unlikely to ever face any uncertainty in this matter, the whole subject does, nonetheless, interest me. The topic of the =   workshop was "Pop Culture." Moderator was the witty and wonderful Max = Miller, who writes the "Dear Uncle Max" column in TAO. Panelists were David = Spicer, Minister of Music at First Church of Christ in Wethersfield, CT, and John Harutunian, pianist, composer, educator, and a "liturgical Evangelical Orthodox born-again sacramental Christian - not necessarily in that = order." We neither solved problems nor settled anything, but the moderator, panelists, and many people from the floor had tales to tell, not in the spirit of confrontation, not of bad experiences, but rather of good ones = in which understandings were reached, honest attempts were made, problems = were resolved, tensions eased - it was a good and civil clearing of the air. I personally found it refreshing, and wish there were space here, had I the patience, to report each thing that was said.   The next event, in the nearby very attractive chapel, had double meaning = for me. First, I was hearing for the first time an organ at least partly the = work of Stephen Russell, who was an organ student of mine in the early 60s. Secondly, I was about to hear a recital by Fred Teardo, who won first = place in the Regional Competition the day before the convention began, and whose =   musical development I have watched with interest for some time, having met =   him at the Schweitzer Competition, in which he came in third. I was later = one of three judges in the Waterbury and New Haven chapter competition, at = which we unanimously awarded Fred first prize, which is how he got to Worcester. =   He's a fine young man with a penchant for hard work and a big talent = without any accompanying huge ego. Fred's program:   Fantasy and Fugue in C Minor, BWV 537 - Bach   From Windows of Comfort, Organbook I, "...beside the still waters." (Chaconne), Dan Locklair.   Benedictus - Reger   Final from Symphony III - Vierne   The Bach got off to a very slightly rocky start, with a few minor slips = here and there. It is *not possible* to practice how it is going to feel to = play in front of about 350 organists from all over the region, the Executive Director of the national AGO, three past national presidents, your = teacher, your parents, the organbuilder, and a bunch of friends - all quite close behind you, some looking at you from the side. You cannot know what that feels like until you begin. So I would guess the little slips, and they = were little, at the beginning, were just a settling of the nerves, proof being that once the Fugue began, Fred was completely in the music, and he never left it from that point on. The Fugue was excellent, with a lovely understanding of the tensions and releases therein, and the ability to respond to them. Both the Locklair and Reger were filled with atmosphere = and beauty, the buildup in the Reger being wonderfully wrought, controlled but =   powerful. Fred chose to play the Vierne from memory, to me a very wise choice. I do believe one never plays better than when playing from memory, = as long as the memory is secure, and secure it was. This was a powerful and fully mature performance of this wonderful work, and the audience rose to = its feet cheering, making me wonder if this was Fred's first standing ovation = - first of many, no doubt. We sang three stanzas of Amazing Grace. A hymn accompaniment was one of the competition requirements, and Fred decided to =   close the recital with it. We raised the roof, helped by a very sturdy accompaniment. Fred is off to Eastman in the fall, where he will study = with David Higgs, but he is already at it, in a way, having been given a list = of three major works to learn during the rest of the summer, and a list of theory books to work at as well. I must not fail to mention Fred's = teacher, Stephen Roberts, a regular PipOrg-L contributor, particularly in that, = from my excellent vantage point, I could tell that while Fred was on the bench, =   Stephen was working every bit as hard as he was. By the way, I really did like this organ. I had been told that it was excessively loud. In the full =   chapel, it was a perfect fit. Obviously, when the congregation is small, = one must know how to register to not overpower, when a builder has scaled and finished for sufficient power in a more-or-less full room.   The recital was followed by the regional AGO meeting, well organized and = led by Victoria Wagner, who introduced Executive Director James Thomashower, = who later introduced Anthony Thurman, Director of Development and = Communications. I was tremendously impressed with what was said and how it was said. Our presence at this convention says we do care about those things for which = the Guild stands, so I think most came away from the meeting feeling that the organization is in very good hands indeed. At meeting's end, the = convention committee of the Worcester Chapter, led by Lois Toeppner, was introduced, = and cheered enthusiastically. Their achievement deserves the highest praise, = and I hope, in a final posting, to talk about some of the things that made = this gathering really special for all of us who attended. Finally, music was passed out by Harold Stover, and we all, reading brilliantly, sang a bit = of Strauss (Richard, that is), with the words: "A. G. O., Two Thousand One! = in Portland Maine, Region One Convention, July Eight to Eleven." Also sprach Zarathustra, 2001, indeed!! There's nothing like a good jingle. We will remember well.   After dinner at the hotel, we were bussed to First Baptist Church for the final "phenomenon" of the convention, and I chose the word wisely, I = believe. If you have attended a Joyce Jones recital, you know that. This was my = first. It has to be said that there are different paths to the pinnacles of the musical experience. James David Christie playing Buxtehude on the great Taylor & Boody organ at Holy Cross is one that we followed on the opening night of the convention. Thomas Murray led us up by another way, with his wonderfully refined playing of Elgar, amongst other music, on a G. Donald Harrison AEolian-Skinner organ. On Wednesday night, we experienced a far = more visceral approach to the top. The first three pieces listed in the program =   were the Final from the Widor 8th Symphony, the big Bach D Major P & F, = and the Mozart K608 Fantasy. I confess I wondered why are we doing this. I did not come all this way to hear yet another performance of these wonderful = but over-exposed works - unless there was some new light to be shed - some new =   approach to the music. Well, quite honestly, there was not, in my opinion, =   any new light, but there were plenty in the church, I suspect, for whom = these works are still new. One of the little Haydn clock pieces (Coffee Klatch) = was added before the Mozart. Ms Jones was somehow not at ease at this point. = She seemed disoriented, and there were what I am told were uncharacteristic = slips and wrong notes here and there. By the way, the entire program was played from memory. I have to say I was less kindly disposed to these first half performances partly because of the very shrill and, to me, unpleasant, instrument. A friend on the bus had said he was looking forward to seeing = if there was still any paint on the walls on this church which he had visited = in the past. He thought the sound of the organ might be causing excessive peeling. I should say so, but there is no blame to be assigned here - the instrument is from and of the 60s, and has been worked on by many hands. Lately, Stephen Russell has it in his care, and may be allowed to tame it = a bit, and he has built and installed a really exquisite new console.   The second half began on a solid footing. Ms Jones said that after = learning the Dupre Crucifixion from the Passion Symphony, it was a long time before =   she felt ready to play it - about 14 years, in fact. It was clear she was = now ready. It was a tour de force - and this was followed by the Variations on = a Noel, again a powerful and exciting show. Then, the lovely Twilight at Fiesole, of Seth Bingham. At this point in the printed program, and the "encore section," we began our ascent to the pinnacle by the path of transcendant virtuosity, yet another way, starting with the Sowerby = Pageant, taken at a speed that made no allowances for the almost unbelievable feats = of pedal dexterity required. It really was a jaw-dropping sort of show. The first encore was a bit relaxing. Ms. Jones had explained that for the NY National Convention, she had programmed the Seth Bingham piece, having = been sent a specification of the organ that included a Harp. It turned out that =   the Harp was no longer there, so she instead improvised a piece based on = The Dragonfly. She later wrote down the improvisation, and that was our first encore, very sweet and charming, with, as it turned out, lots of harp, chimes, and occasonal short bursts on the cymbelstern. Then, having had a = bit of a rest, she was ready for stronger stuff, and the second encore was a transcription of the Prokofiev Toccata, Opus 11, in the transcription by Wolfgang Meier - breathtaking. Before the first encore, she had said to = the cheering audience, "I know what you want, but you are not going to get = it." Our thoughts ran to Widor and various other popular favorites. At this = point, she said, "o.k., here it is." "It" was the Bum of the Flightlebee (so sorry!), in the version for pedal - there is an arrangement for the fast = bits in the manuals. This was nothing less than astonishing, so clear and = powerful is her pedalling, with her seemingly exerting no effort whatever. Wow! = There was a third whooping and whistling standing ovulation, and we finally got back on the cool busses for a reception at the hotel sponsored by Russell = and Company, and Southfield Organ Builders. For many, this was the time for a final goodbye. About 60 or so, including me, had signed up for one of Judy =   Ollikkala's justly famous Organ Crawls. In addition to seeing some interesting churches, organs, and some of the surrounding countryside, = Judy had made arrangments for good players to present a short recital in each place, including the singing of a hymn. This turned out to be a very fine day, and I will hope to report on that in the next day or two, and I also want to write a little wrap-up article containing some observations that = do not fit within the reviews of each day.   Good night/morning all.   Malcolm Wechsler Mander Organs, Ltd. - U. S. A. www.mander-organs.com                  
(back) Subject: Re: Fw: Wish me luck From: DRAWKNOB@aol.com Date: Sat, 3 Jul 1999 03:47:16 EDT   In a message dated 7/2/99 2:20:25 PM Central Daylight Time, dutchorgan@svs.net writes:   << Break a leg John......... >>   Thanks Rick!   I think I may have today... after a $400.00 meal and great conversation I think I tore a ligament or something trying to make it to my plane. on = time.. Oh, the hazards of the good life... tee hee!!! ;-)   John   P.S. After that wonderful meal I nearly needed a wheelbarrow to carry me = out of the joint!