PipeChat Digest #832 - Wednesday, May 5, 1999
 
Re: 32's
  by "Richard Scott-Copeland" <organist@hantslife.co.uk>
address XPOSTED
  by "David McPeak <Mack>" <dm726@delphi.com>
Re: Re:my point for those who...
  by "Robert  Eversman" <highnote@mhtc.net>
Fw: Fw: 32's (Moller Tackers)
  by "VEAGUE" <dutchorgan@svs.net>
Re: Fw: trompette en chamade...
  by "bruce cornely" <cremona84000@webtv.net>
Re: playing the worship service..
  by "bruce cornely" <cremona84000@webtv.net>
Re: just curious...........
  by "bruce cornely" <cremona84000@webtv.net>
Re: just curious...........
  by "jon" <jonberts@swbell.net>
Article for Organ Canada (Groningen) I
  by "CJSD" <noto@river.netrover.com>
 


(back) Subject: Re: 32's From: "Richard Scott-Copeland" <organist@hantslife.co.uk> Date: Wed, 5 May 1999 08:45:25 +0100       Bud wrote:   There are some HUMONGOUS scale old 16' Open Woods out there that can >be recycled as 32' Bourdons, at least down to G or F ...       How large does an Open Wood have to be before it can do duty as a 32' Bourdon. We have an enormous Open Wood on the organ at our church (20.5"X18" at CCC) which is hardly ever used because is makes your ears "pop" and the windows rattle. There are several other 16's anyway, so it probably wouldn't be missed! Thing is, though, we already have a 32' Bourdon anyway! (that also shakes things)   Richard Scott-Copeland Southampton England    
(back) Subject: address XPOSTED From: "David McPeak <Mack>" <dm726@delphi.com> Date: Wed, 05 May 1999 07:26:17 -0400   Hello groups, once again I come looking for information. Does anyone have an e-mail address for Brian Jones, organist at Trinity Church, Boston?   Thanks Dave McPeak    
(back) Subject: Re: Re:my point for those who... From: "Robert Eversman" <highnote@mhtc.net> Date: Wed, 5 May 1999 07:13:41 -0500   I don't know, looks like fun to me........................ :)     8' Holz Gedeckt 4' Principal 2' Blockflute lll Mixture 8' Grand Ophecleid   Manual to Pedal 16' Subbass (ext)          
(back) Subject: Fw: Fw: 32's (Moller Tackers) From: "VEAGUE" <dutchorgan@svs.net> Date: Wed, 5 May 1999 07:22:05 -0500   That's what I thought, but that would throw off the scaling. I thought too it might have been a typo. Half of my keyboard vocabulary is typos!!   Rick   -----Original Message----- From: Bud/burgie <budchris@earthlink.net> To: PipeChat <pipechat@pipechat.org> Date: Tuesday, May 04, 1999 11:54 PM Subject: Re: Fw: 32's (Moller Tackers)     > > >VEAGUE wrote: > >> Stopped open woods??? >> >> Rick V. >> > >If you stop a 16' open wood, you have a stopped 32' Bourdon. Usually the scale >isn't big enough to get you down to low "C", but the respondent evidently was >indicating that some Estey 16' open woods come close. > >Cheers, > >Bud > > >"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: Fw: trompette en chamade... From: cremona84000@webtv.net (bruce cornely) Date: Wed, 5 May 1999 08:27:57 -0400 (EDT)   >... several of my parishioners have and > complain that the Rufatti (pardon spelling) is > always played too loudly. I don't know what the situation is a Coral Ridge, not have I been there, but I do know that whenever microphones, mixers and sound people are involved, things are not always as they seem. I remember a Baptist church where some gnugnu had hung microphones inside of the swell boxes for optimal "control". One Sunday I began playing quietly on the Erzahler Celeste with the shades closed, but it kept getting louder and louder. The minister turned and looked at me, and it kept getting louder and louder.... much louder than a gentile Erzahler would ever be. Finally, in desperation I pointed to the sound booth in the back. The minister nodded and discreetly COUGHED into his microphone nearly scaring the guy in booth out of his seat. Seems he was drifting off into lala land and his elbow was pushing the choir organ mic volume louder and.... That afternoon I removed all of the mic's from the chambers. So don't be too harsh on the organist! ;-)   bruce cornely cremona84000@webtv.net   The best way to bet a puppy is to beg for a baby brother -- and they'll settle for the puppy every time. -- Winston Pendelton      
(back) Subject: Re: playing the worship service.. From: cremona84000@webtv.net (bruce cornely) Date: Wed, 5 May 1999 08:30:53 -0400 (EDT)   Not to mention that hymns are about the most fun things to play. Very few pieces of literature offer the chance to use the entire organ as you wish. One summer my project was to play all hymns from memory. It was quite fun. I still remember most of them, and can play and sing a goodly number from memory, although I no longer know them by hymnal number.   bruce cornely cremona84000@webtv.net   The best way to bet a puppy is to beg for a baby brother -- and they'll settle for the puppy every time. -- Winston Pendelton      
(back) Subject: Re: just curious........... From: cremona84000@webtv.net (bruce cornely) Date: Wed, 5 May 1999 08:43:26 -0400 (EDT)     >=A0=A0=A0=A0=A0 =A0 =A0 Pajamas? I have not worn a pair of > those things since I was around 12. Clothing > and sleeping for me do not mix for the most > part. Need I say more? Possibly! But not on a public list.....     BBBWWAAAHAHAHAHAHAHAHAHA   bruce cornely cremona84000@webtv.net   The best way to bet a puppy is to beg for a baby brother -- and they'll settle for the puppy every time. -- Winston Pendelton      
(back) Subject: Re: just curious........... From: jon <jonberts@swbell.net> Date: Wed, 05 May 1999 07:48:22 -0500       bruce cornely wrote:   > What you said below bruce, is exactly what middle c of my 8'Tromp-ette > (and that's how it looks on the tab) on the gawdalmitysludgemasterdeluXe > sounds like.   Jon   > > > BBBWWAAAHAHAHAHAHAHAHAHA > > bruce cornely cremona84000@webtv.net > > The best way to bet a puppy is to beg for a baby brother -- and they'll > settle for the puppy every time. -- Winston Pendelton > > "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: Article for Organ Canada (Groningen) I From: CJSD <noto@river.netrover.com> Date: Wed, 5 May 1999 10:20:01 -0400 (EDT)   To the List:   The following article will be published in Organ Canada in June. I thought it might be of interest.     Organ History and Culture in=20 the Dutch Province of Groningen =97 Simon R. Dyk   During a recent trip to the Netherlands, it was my privilege to visit and play instruments in s'Hertogenbosch, Maassluis, Eindhoven, Goes, Kampen, and Soest. The Netherlands has a very rich organ tradition, and organs in Haarlem, Amsterdam, Alkmaar, and other places have become renowned around the world. However, on this trip I specifically wanted to visit the "organ garden of the world": the northern province and city of Groningen. During my short time there I had the opportunity to visit a few of the organs, and partake in the annual Orgeldag Noord Nederland (Groningen Organ Day). This article will focus on the organ culture and history in this less-known, but equally important organ-region in the Netherlands.       Insert map here=20       History, Geography and Settlement of Groningen Evidence of human habitation in the northern province of Drenthe becomes apparent after the last Ice Age in the form of large stone mounds, known as Hunebedden, still scattered around Drenthe today. These mounds, which consist of large boulders, were used as burial markers and pre-date the more famous Stonehenge monolith in Britain.   The Ice Age left the present province of Groningen as a large tidal flat, made up of marsh and many sand dunes from the northern Waddenzee (Wadden Sea). A long, larger, higher sand dune known as the Hondsrug (literally "dog's back", because of the way its shape appears on a map) held back water from the Waddenzee from the then northern border of the Netherlands. The present border between the provinces of Groningen and Drenthe is this geographical line.   Reindeer hunters in search of food occupied this location in camps some 12,000 years ago.=20 Settlers, mostly farmers, settled on the tidal flats around 300 A.D. Even then, the Waddenzee overflowed regularly onto the farmlands. During the early middle ages, land north of the city was reclaimed from the tidal marshes with dikes, canals, and windmills.   Villages that sprang up north of the city of Groningen were initially created on terpen or wierden (slightly raised earthen mounds) to protect inhabitants from frequent sea flooding. Often a terp or wierd consisted of a few farms and later, after Christianisation (circa 800 A.D.), a church.=20 The locality was prone to frequent flooding from the sea which seriously limited travel, and it was therefore necessary that each community, or each terp, have its own church. The winter season especially left villagers isolated from their neighbours in the rest of the province. This landscape now serves as backdrop to one of the richest organ building legacies in the world today.   Early Organ Building A distinguished tradition of organ building existed in this region long before the Reformation.=20 The St. Martin's Church (Martinikerk) in the city of Groningen, originally constructed in 1250, had an important organ built in 1450 by the builder Johann ten Damme and the humanist, Rudolph Agricola. Agricola had spent some time in Italy and had absorbed some of the organ culture there.   The sweet, delicate sonorities of Italian organs left a considerable imprint on Agricola's mind and he brought these new ideas north to Groningen. Sometime between 1469 and 1482 the archives record that the organ in this main city church was moved from the crossing to its present location in the west end. Archival evidence suggests that around 1500 there were supposed to have been at least 50 organs in the province. These could be found in abbeys, city churches, and some parish village churches.   Most of these organs were small, and had a sweet, singing, Italianate sound, mainly due to Agricola's influence. They were used primarily at mass, to accompany the priest, and in alternation with the choir and priest. Organs were usually placed at the crossing, or on an oxaal (screen), and were later moved from the crossing to under the tower at the west end of the nave. The Hoofdwerk (Great Organ) case, and some of the pipework of the Martinikerk date from the Renaissance, and were part of an early west end organ.   In 1550 there were 27 monastaries and convents (cloisters) in the province, and many of these had organs. There were also organs in important city parish churches and some village churches. The reasons for there being so many organs in this small province were manifold. Firstly, there was the love of organ building and organ playing inspired by humanists Agricola, Euricius Cordus and their followers. Secondly, the province of Groningen prospered during this time, and many instruments were donated by nobility who saw the acquisition of an organ as a means to beautify the house of God, despite that such adornment of it and the liturgy of worship had been rare in this region. Groningen, the city was a =93Hanseatic=94 city and= handled trade in fish, lumber, beer, and other commodoties with other parts of the northern Europe. Its system of canals aided the movement of goods throughout the Hanseatic empire. This, perhaps above all else, provided congregations with the monetary resources to pay for an organ.   National borders as we know them were much less important, and many Dutch organ builders built instruments in Germany and vice-versa. The area around the Eems estuary (Groningen in the Netherlands and Oost Friesland in Germany) holds many important historical organs. This region, while having two regional governments, can be considered one district in terms of culture, landscape, geography, and history. The low German dialect spoken in Oost Friesland is very similar to the earthy, farmer's dialect spoken in Groningen -- and just as different from the Dutch spoken in other parts of what is now the Netherlands.   Insert Krewerd picture Here   The churches in Krewerd, Holwierde, and the cloister in Ter Apel had their organs originally located on a screen which divided the chancel from the nave. The organ in Krewerd, built by an unknown builder in 1531, is the only instrument so located which survives in Groningen today. These older organs usually had no independent pedal stops: instead they possessed pedal pull-downs from the manuals. The Martinikerk organ in the city even had a note below low C, pedal B ('H' in German). The pitch of these instruments was often a minor or major 3rd above today's A=3D440 Hz. In some cases this was due to the organ being tuned to= the church's tower bell.   Organ building after the Protestant Reformation A change in organ building styles occurred after the Reformation. Stops became bolder in sonority and wind pressures were raised. Organs had a new function: supporting and encouraging congregational singing (congregational singing was unheard of in Groningen before the Reformation). Organs built soon after the Reformation primarily to lead congregational singing can still be found well-preserved in Noordwolde (1640), Zeerijp (1650), =91t Zand (1662), Kantens (1667), and Midwolde (1630/60). The Reformation in Groningen, like the rest of the Netherlands, took on the Calvinist form in 1595, and congregations were now encouraged to sing the Dutch translations of the Calvinist Genevan Psalms. Organs that were bold and vigorous were needed to propogate this movement which has been so influential to this day. Insert Zeerijp Picture Here   The organ in Zeerijp was built by theologian and artist Theodorus Faber in 1650. Unfortunately, today only his casework survives, but much credit is due to the Dutch organ building firm of Karl Bernhard Blank from Herwijnen for the recent fine reconstruction (1976-1979). All of the pipework was rebuilt according to Faber's original specifications. The church's unusually fine acoustics and the organ's fine voicing make it ideal for leading congregational song, while the mean-tone temperament, and the short octave manual and pedal compasses make it perfect for playing organ repertoire from the 16th to the early 18th centuries. Theodorus Faber also built a large organ for the Der Aa-kerk in the city in 1654. Faber died in 1659 leaving the instrument unfinished, and the work was continued by Andreas De Mare of Bedum. This choice was an unfortunate one for the church council, as De Mare used the funds meant for the organ to finance a love affair. This misuse of funds led to his banishment from the city of Groningen. The work on the organ was nonetheless continued and finished by Jacobus Galtuszoon van Hagerbeer in 1667. Sadly, in 1671 the church tower was struck by lightning and the resulting fire destroyed the instrument. Insert the Der Aa-kerk Pictures here Arp Schnitger Around 1700, the Hamburg organ builder, Arp Schnitger was very prolific in Groningen. Many original Schnitger organs remain in the province to this day. He also worked on many extisting instruments, including the Martinikerk organ pedal towers (1692) and the rebuilding of the organ in the Pelstergasthuiskerk (1693). He built new organs for the Der Aa-kerk in 1697 (this organ was destroyed in 1710 by the second collapse of the church tower). Arp Schnitger built a new organ for the Acadamiekerk (1702), and since 1816 this instrument in now housed in the Der Aa-kerk. The city of Groningen is the only city in Europe with three well-preserved Schnitger organs, in the Martinikerk, Der Aa-kerk, and the Pelstergasthuiskerk. In the rural parts of the province Schnitger built new organs in Harkstede (1695), Noordbroek=20 (1695/96) Pieterburen (1696) [this organ is now in part in Mensingeweer], Nieuw Scheemda (1698), Uithuizen (1701), Godlinze and Eenum (1704). Frequently he would receive the authorisation to commence the work himself, but would instead send his senior employees to execute the task. The workers who finished these installations would later become noted builders in their own right in other parts of the Netherlands. Rudolph Garrels, Johannes Radeker and Arp Schnitger's son, Franz Caspar Schnitger frequently completed the senior Schnitgers organs in the province of Groningen.   The Schnitger instruments in Groningen are noteworthy because of their beautiful, rugged and powerful sound. Trebles are sharp, creating a daring richness of overtones in the overall sound.=20 The flutes, in contrast, are often voiced on the sweet side. Arp Schnitger's style of organbuilding left a lasting influence for many generations in this area of the= Netherlands.   Franz Caspar Schnitger and Albertus Anthonious Hinsz When Arp Schnitger died in 1719, his work was carried on by his son, Franz Caspar. Franz Caspar Schnitger moved his father's workshop south to Zwolle and carried on his father's unfinished contracts. The large organ for the St. Michael's church in Zwolle was completed by Franz Caspar in 1721. Other projects included an extensive rebuild in Alkmaar in 1723 and a large rebuild at the Martinikerk in the city of Groningen in 1728. It was actually during the rebuild at the Martinikerk in 1729 that Franz Caspar died. The work on the Martinikerk organ was finished by his chief foreman, Albertus Antonious Hinsz. Church council was delighted with Hinsz's success and he was later contracted (1740) to rebuild the instrument even further.   Albertus Anthonious Hinsz (sometimes he spelled it 'Hintz') was born in Hamburg, Germany in 1704. He moved to the city of Groningen in 1728. His good friend, organist Jacob Wilhelm Lustig, had been appointed organist at the Martinikerk the same year. Hinsz completed the work of his former employer at the Martinikerk in 1730 and married the widow of Franz Caspar, Anna Margarita Debberts, the same year. Hinsz moved to the Schnitger workshop from Zwolle north to the city of Groningen. During his career, Hinsz built or rebuilt more than 60 organs in the Netherlands, mostly in the provinces of Groningen and Friesland. His largest was the three manual organ in the Bovenkerk in Kampen, where he incorporated much pipework from the former Slegel organ, including its 16' Principals in the Hoofdwerk. Generally, his new organs were small, with only two manuals and based on an 8' Principal stop.   Hinsz carried on and developed the Arp Schnitger tradition of North Germanic organ building in Groningen. His first independent new instruments are those he built for the churches in Zandeweer (1731) and Leens (1733). These organs were built very much in the North German tradition of the time with sharp, narrow sounding trebles, an independent pedal division with independent Mixtuurs, a plenum based on a 16' Quintadena, a Scherp III and a Quint 1 1/3' stop on the Rugpositief.   His later work was based on the custom and tastes of the time. His last organ, in Uithuizermeeden (1785), is a very different instrument. Here, we find a plenum based on a 16' Gedackt, a Sesquialter II-III in the Rugpositief (instead of the usual, sharper Scharff), and no Quint 1 1/3' on the secondary manual. Generally he developed a more Emphindsam, rounder characteristic to the overall sound. Hinsz brought the art of organ building out of the baroque period into new, highly evolved classical/romantic standards.     ************************************************************ Simon Dyk Toronto Canada   GOBER ORGANS INC. http://www.interlog.com/~goberorg CHURCH OF THE TRANSFIGURATION http://www.interlog.com/~transfig/trans.htm PERSONAL HOME PAGE: http://www.netrover.com/~noto/gober/~noto.html   =20