PipeChat Digest #1596 - Tuesday, September 5, 2000
Re: Boston OHS 2000, The Final Great Day
  by <Cremona502@cs.com>
Re: dB goes meshuggah, was Final Great Day
  by "Bob Scarborough" <desertbob@rglobal.net>
Apology and clarification
  by <Cremona502@cs.com>
trackers (WAS)Re: Apology and clarification
  by <quilisma@socal.rr.com>
"A little Market Research (X posted)"
  by "Noel Stoutenburg" <mjolnir@ticnet.com>

(back) Subject: Re: Boston OHS 2000, The Final Great Day From: <Cremona502@cs.com> Date: Mon, 4 Sep 2000 23:02:20 EDT   In a message dated 9/4/00 4:39:38 PM Eastern Daylight Time,=20 desertbob@rglobal.net writes:   << ...and THEN, I'll work up a recital on such a Frisky=AE, containing NOTHI= NG but Romantic and Modern pieces that'll SHOW these things for what they are...ANACHRONISMS...INCAPABLE of playing the broad landscape of musical heritage! >>   Which would be just as enjoyable as hearing an program of Bach, Buxtehude an= d=20 Langlais played on a Hope-Jones TO! Can't you grasp the concept of=20 appropriate music for an approriate instrument? What is so wrong with=20 hearing romantic music on a romantic organ, baroque music on a baroque organ= ,=20 contemporary music on a contemporary organ, and theatre music on a theatre=20 organ. Why does ONE instrument have to do it ALL poorly?   Bruce Cremona502@cs.com in the Beagles' Nest with the Baskerbeagles visit the Cornely pack at Holwling Acres: Ourworld.cs.com/Brucon502  
(back) Subject: Re: dB goes meshuggah, was Final Great Day From: "Bob Scarborough" <desertbob@rglobal.net> Date: Mon, 04 Sep 2000 21:05:37   At 06:03 PM 9/4/2000 -0700, you wrote: >Hooray for fads. Remember that cooking meat was once a fad. So were democracy and fugue writing.<snip>   Rubbish. From my mail, I see that evidently one very prominent contemporary composer seems to agree with me. Any others?   dB  
(back) Subject: Apology and clarification From: <Cremona502@cs.com> Date: Tue, 5 Sep 2000 01:33:09 EDT   The following response to a post was sent by me earlier, and it appears = that I neglected to delete the name of the person to whose post I was = responding, making it look like he agreed with me! Horrors! Anyway here is what it sould have been:   In a message dated 9/4/00 2:05:35 PM Eastern Daylight Time, RonSeverin@aol.com writes: <<I couldn't agree with you more about the cost of these "throwback" instruments. As for *authentic* performance 14 or fifteen keys per octave to be able to play = in meantone is a bit *mean* itself. To fill out the plenariness one I suppose =   must used *authentic* ancient fingerings too I suppose. I find it an = exercise in futility. I guess my question is, Why do people do these things to themselves in the first place?>   I responded: Because it's beautiful and fun! It's not as though they = would send the unused money to YOU, now is it? Do you want people to deprive = you of things that cause you joy and excitement simply because they don't understand why? It was so much fun playing this organ, and was quite a relief to hear a different sound from the other organs at the convention. = The highlight for me was the Prelude & Fugue in G by Buxtehude, which we = had heard in equal temperament before. Kimberly Hess, much to my dismay substituted something else in her programme for some reason. Had she = played it, we would have had the unique fun of hearing the same piece in THREE different temperaments on THREE different and unique organs. NOW THAT'S = FUN! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D   Ron said: > I guess my *other* question has to do with hand pumping, why = is that superior to blower blown? >>   I responded: Well, if you'd get out a bit more and listen to, rather than =   complain about, these wonderful instruments you'd be able to hear how = gentle the sound is when produced by "soft" wind. It is a subtle, but very powerful difference, and you are cheating yourself out of a wonderful experience. -=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D   Ron said:<It's also interesting that the word *flexable* stands in for unsteady wind. >   I responded: You are confusing *flexible* wind with unsteady wind. There = IS a difference. In addition, if flexible wind is misused by someone who doesn't know how to handle it, of course it is not going to work well. Please! Credit/blame where it is due! =3D=3D=3D=3D=3D=3D=3D=3D     Ron said: <Another question, why is having to play using 2 1/2 assistants =   *superior* to a good relyable 100 memory combo action? >   I responded: Well, gee! Why no tirades about people using page-turners = and stop-pullers in their recitals, even on organs equipped with space-age acoutrements! Did it ever occur to you that it is FUN to pump a pipe organ. How many organists or builders in the "olde days" became = interested in the organ because they pumped it as a child. Is it your desire to removal all fun and manual action from our world in the name of expediency = or aimless technology? Shame on you! =3D=3D=3D=3D=3D   Ron said: <You're Boston friend is right.>   I responded: I beg to differ! Closed-mined leaps to mind! =3D=3D=3D=3D=3D=3D   Ron said: < Organ building has progressed much apace since the 16th and = 17th centuries, and what has been proven by this backlash?   I responded: That all progress is NOT necessarily good! =3D=3D=3D=3D=3D=3D   Ron said: <No flames please, just delete....>   I responded: Not so fast, Bub! Don't think for a second that your going = to get away with such a narrow and venomous post unchided! Now off to the desert with you to eat cactus! heeheeheehee =3D=3D=3D=3D=3D=3D   Then I didn't delete his original signature copied from the original = message. It was a computer problem. This wouldn't happen if this was all tracker!!!!! ;-) Ron said: Regards, Ron I sent: .....     Bruce Cremona502@cs.com in the Beagles' Nest with the Baskerbeagles visit the Cornely pack at Holwling Acres: Ourworld.cs.com/Brucon502  
(back) Subject: trackers (WAS)Re: Apology and clarification From: <quilisma@socal.rr.com> Date: Mon, 04 Sep 2000 23:07:00 -0700   I guess it's time for my rant again:   Gentlemen and ladies, tracker is an ACTION, nothing more. It imposes = CERTAIN limits as to layout, wind-pressure, size and voicing in a very GENERAL way = (most of them GOOD), but it implies NOTHING as to the style of organ ... French romantic, German baroque, Victorian English, etc.   Wolff has erected a (from all reports) STUNNING French romantic organ in = Kansas (I think it is) ... presumably it is tracker action (with possibly Barker assists) to slider chests, and on moderate wind-pressure. It is encased. I = don't recall offhand whether or not it has electric stop action.   I find it kinda chuckle-making that most of the music my fellow Anglican organists pine to play on big orchestral Skinners was in fact written = for Willis, Harrison, Hill, Norman & Beard, Gray & Davidson, etc. instruments = , ALL of which were tracker or tubular pneumatic action to slider chests, and = still on moderate wind-pressure. The organ-CASE was disappearing in England, to be = sure, but Hill, Norman & Beard still built some BEAUTIFUL ones nonetheless. = Maybe we'll see a movement to build "authentic" instruments of THAT era ... I = certainly intend to TRY at St. Matthew's, if I ever get the chance!   I would remind those who raved about the Hook and Hastings organs in The Immaculate Conception and Holy Cross Cathedral in Boston that virtually = NOTHING was changed about those organs TONALLY when they were electrified ... = except that The Immaculate Conception gained a Solo organ, built by the original = builder, and maybe a celeste or two. My point: they were ORIGINALLY *Romantic* = trackers, and stunningly good ones at that. Ditto the Johnson (?) transplant in St. = Mary's, New Haven; ditto the Johnson transplant in Mankato; ditto any number of = surviving 19th century American organs you'd care to name.   Bach on most H & Hs has something of a French accent, which is = interesting, since in their own day, H & Hs were considered more Germanic than French. But = you can certainly PLAY Bach on an H & H; a few, like Holy Cross, even have the = requisite independent Pedal organ so you DON'T have to resort to the couplers for = the Pedal line.   I haven't heard the St. Ignatius Mander, but people tell me it's a very middle-of-the-road Anglo/Franco kind of sound, and IT'S a tracker.   So you DON'T have to sacrifice your Fonds d' Orgue and your Harmonic = Trumpets and whatnot just because it's TRACKER action. You just can't put your Solo = Tuba on 50'' of wind, or a Party Horn unit at 16-8-4 at the opposite end of the = church .... and these are bad things because??!!   Cheers,   Bud        
(back) Subject: "A little Market Research (X posted)" From: "Noel Stoutenburg" <mjolnir@ticnet.com> Date: Tue, 05 Sep 2000 01:36:44 -0500   I apologize for the X-posting, but I wanted to reach as many people as possible, to get the best possible response. I finally have at hand the materials necessary to begin a large project, and I am asking your indulgence as I attempt to determine whether it is worth the bother.   1) How much would you be willing to pay for about 150 (mostly) romantic-era organ treasures, republished after about a century, or so. Compositions include some composed for Organ by, Guilmant, Lemmens, Merkel, Smart, West, as well as transcriptions, and range in duration from about 3 to 10-12 minutes.. I anticipate that the publication would be on multiple (4 - 8 per set) CD-ROMs.   2) Besides yourselves, how many other people do you know that you think might be interested in obtaining a copy for themselves?   Perhaps private replies to these questions would be most appropriate, and in a couple of weeks time, or so, I will make available a summary of the responses I receive.   Noel Stoutenburg