PipeChat Digest #1255 - Saturday, February 5, 2000
Dir.VS org. applied to Mozart
  by "Charles E. Peery" <cpeery19@idt.net>
Re: Dir.VS org. applied to Mozart
  by "David Enlow" <davenlow@hotmail.com>
Dave Wickerham Website
  by "Robert Ridgeway" <ridgeway@ais.net>
Steve Cook Web Page-X-post
  by "Bruce Behnke" <behnke@lvcm.com>
Re: Dir.VS org. applied to Mozart
  by "bruce cornely" <rohrschok8@webtv.net>
Re: Dir.VS org. applied to Mozart
  by "Robert Horton" <gemshorn@falcon.cc.ukans.edu>
Mozart on the organ
  by "Bud" <Quilisma@socal.rr.com>
Rollin Smith's Vierne book x-post
  by "William T. Van Pelt III" <wvanpelt@erols.com>
Re: Rollin Smith's Vierne Book
  by "Jason McGuire" <jason@johannus-norcal.com>

(back) Subject: Dir.VS org. applied to Mozart From: "Charles E. Peery" <cpeery19@idt.net> Date: Sat, 05 Feb 2000 07:11:40 -0400   Somebody said "There are tricks to making them think they're getting what they want." I hope so.   We've been preparing the Mozart Requiem for a performance with full orchestra combined with a sister UMC church choir. The organ part that = I'll actually play as part of the orchestra will be nothing as hard as trying = to play all of what's there on the piano in choir rehearsal, right? (Which I can do on a good night, and which I don't even try to do on a bad night. Nobody seems to notice the difference.) Well imagine my change of perspective when the conductor casually said that we'd be doing some of = the choruses AS ANTHEMS IN THE WEEKS PRIOR TO THE ORCHESTRA PERFORMANCE!   I'm a director recently switched over to organist, and I've never really faced this thought before but : AM I A HORRIBLE PERSON/MUSICIAN IF I KNOW RIGHT NOW THAT I CAN'T PLAY THAT REDUCTION ON THE ORGAN THE WAY IT'S = WRITTEN IN THE SCORE? It's not only "can't", it's also "who would want to?". I mean, repeated bowings in the strings on sixteenths etc., etc., etc. It's just not going to sound right. I sweated through trying (and succeeding, = if I may say) to play every note in those "Messiah" reductions in December, 'cause I was new there. I wondered afterward whether it was really worth all that work and nerves.   So, as far as the Mozart is concerned, what ARE the "Tricks for making = them think they're getting what they want" if you have to be the entire = orchestra at the organ?   Chuck Peery Cincinnati  
(back) Subject: Re: Dir.VS org. applied to Mozart From: "David Enlow" <davenlow@hotmail.com> Date: Sat, 5 Feb 2000 10:18:39 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_000E_01BF6FC2.5EB63040 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   Charles -   Frederick Swann gave a workshop on this very thing in Calgary, and it's = =3D something my teacher does well, so here goes.   One thing that Mr. Swann reminded me of in Calgary was that there is =3D never a reason to play a whole piece in octaves, either in the bass or =3D in the melody. That's what stops and couplers are for. Another thing =3D both he and John Tuttle mentioned is that one NEVER has to play all the = =3D notes; what's important is to give the impression of the orchestral =3D part. This includes, in my mind, using organistic textures such as =3D orchestral-sounding solo on one manual, accompaniment on another pedal =3D in the bass and something (As I'm using in the Mozart Coronation Mass on = =3D Sunday) resembling horns (I'll bet some listers have those gorgeous =3D Skinner Fr. Horns....Casavant built no such thing) or sometimes =3D trumpets on a third manual for small phrases or flourishes from the =3D orchestral brass.   It's important to keep in mind that the vocal score is a piano part, and = =3D because of the damper pedal, repeated chords can come off well on the =3D piano. Some of the things I've heard about repeated chords on the organ = =3D that I've tried (and that work) are as follows: Try holding some of the = =3D notes in the middle of the chord, and repeating the outside notes. Or, = =3D try holding (for smaller chords) the chord on one manual and repeating =3D it on another. These both give the effect of 'bow changes' without =3D losing the sound. If the passage is just a couple of bars, there's =3D something to be said for just playing the repeated chords, and keeping =3D the space between them very short. Your acoustic will dictate the =3D feasibility of that approach.   Well, I've gone on far too long. I've got practicing to do.   Cheers, W. 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=3D00a=3D00c=3D00c=3D00o=3D00m=3D00p=3D00a=3D00n=3D00i=3D00m=3D00e=3D00n=3D= 00t=3D00 =3D00o=3D00n=3D00 =3D =3D00a=3D00n=3D00o=3D00t=3D00h=3D00e=3D00r=3D00 = =3D00p=3D00e=3D00d=3D00a=3D00l=3D00 =3D00i=3D00n=3D00 =3D =3D00t=3D00h=3D00e=3D00 =3D00=3D0D=3D00=3D0A=3D =3D00b=3D00a=3D00s=3D00s=3D00 =3D00a=3D00n=3D00d=3D00 =3D =3D00s=3D00o=3D00m=3D00e=3D00t=3D00h=3D00i=3D00n=3D00g=3D00 = =3D00(=3D00A=3D00s=3D00 =3D00I=3D00'=3D00m=3D00 =3D =3D00u=3D00s=3D00i=3D00n=3D00g=3D00 =3D00i=3D00n=3D00 = =3D00t=3D00h=3D00e=3D00 =3D =3D00M=3D00o=3D00z=3D00a=3D00r=3D00t=3D00 = =3D00C=3D00o=3D00r=3D00o=3D00n=3D00a=3D00t=3D00i=3D00o=3D00n=3D00 =3D =3D00M=3D00a=3D00s=3D00s=3D00 =3D00o=3D00n=3D00 = =3D00S=3D00u=3D00n=3D00d=3D00a=3D00y=3D00)=3D00 =3D00=3D0D=3D00=3D0A=3D =3D00r=3D00e=3D00s=3D00e=3D00m=3D00b=3D00l=3D00i=3D00n=3D00g=3D00 = =3D00h=3D00o=3D00r=3D00n=3D00s=3D00 =3D =3D00(=3D00I=3D00'=3D00l=3D00l=3D00 =3D00b=3D00e=3D00t=3D00 = =3D00s=3D00o=3D00m=3D00e=3D00 =3D 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=3D00c=3D00h=3D00o=3D00r=3D00d=3D00s=3D00 =3D =3D00o=3D00n=3D00 =3D00t=3D00h=3D00e=3D00 =3D00=3D0D=3D00=3D0A=3D =3D00o=3D00r=3D00g=3D00a=3D00n=3D00 =3D00t=3D00h=3D00a=3D00t=3D00 = =3D00I=3D00'=3D00v=3D00e=3D00 =3D =3D00t=3D00r=3D00i=3D00e=3D00d=3D00 =3D00(=3D00a=3D00n=3D00d=3D00 = =3D00t=3D00h=3D00a=3D00t=3D00 =3D =3D00w=3D00o=3D00r=3D00k=3D00)=3D00 =3D00a=3D00r=3D00e=3D00 = =3D00a=3D00s=3D00 =3D =3D00f=3D00o=3D00l=3D00l=3D00o=3D00w=3D00s=3D00:=3D00&=3D00n=3D00b=3D00s=3D= 00p=3D00;=3D00 =3D =3D00T=3D00r=3D00y=3D00 =3D00h=3D00o=3D00l=3D00d=3D00i=3D00n=3D00g=3D00 = =3D00s=3D00o=3D00m=3D00e=3D00 =3D =3D00o=3D00f=3D00 =3D00=3D0D=3D00=3D0A=3D =3D00t=3D00h=3D00e=3D00 =3D00n=3D00o=3D00t=3D00e=3D00s=3D00 = =3D00i=3D00n=3D00 =3D00t=3D00h=3D00e=3D00 =3D =3D00m=3D00i=3D00d=3D00d=3D00l=3D00e=3D00 =3D00o=3D00f=3D00 = =3D00t=3D00h=3D00e=3D00 =3D =3D00c=3D00h=3D00o=3D00r=3D00d=3D00,=3D00 =3D00a=3D00n=3D00d=3D00 =3D =3D00r=3D00e=3D00p=3D00e=3D00a=3D00t=3D00i=3D00n=3D00g=3D00 = =3D00t=3D00h=3D00e=3D00 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=3D00'=3D00b=3D00o=3D00w=3D00 = =3D00c=3D00h=3D00a=3D00n=3D00g=3D00e=3D00s=3D00'=3D00 =3D =3D00w=3D00i=3D00t=3D00h=3D00o=3D00u=3D00t=3D00 = =3D00l=3D00o=3D00s=3D00i=3D00n=3D00g=3D00 =3D =3D00t=3D00h=3D00e=3D00 =3D00=3D0D=3D00=3D0A=3D =3D00s=3D00o=3D00u=3D00n=3D00d=3D00.=3D00&=3D00n=3D00b=3D00s=3D00p=3D00;=3D= 00 =3D00I=3D00f=3D00 =3D =3D00t=3D00h=3D00e=3D00 =3D00p=3D00a=3D00s=3D00s=3D00a=3D00g=3D00e=3D00 = =3D00i=3D00s=3D00 =3D =3D00j=3D00u=3D00s=3D00t=3D00 =3D00a=3D00 = =3D00c=3D00o=3D00u=3D00p=3D00l=3D00e=3D00 =3D00o=3D00f=3D00 =3D =3D00b=3D00a=3D00r=3D00s=3D00,=3D00 = =3D00t=3D00h=3D00e=3D00r=3D00e=3D00'=3D00s=3D00 =3D =3D00s=3D00o=3D00m=3D00e=3D00t=3D00h=3D00i=3D00n=3D00g=3D00 = =3D00t=3D00o=3D00 =3D00b=3D00e=3D00 =3D00=3D0D=3D00=3D0A=3D =3D00s=3D00a=3D00i=3D00d=3D00 =3D00f=3D00o=3D00r=3D00 = =3D00j=3D00u=3D00s=3D00t=3D00 =3D =3D00p=3D00l=3D00a=3D00y=3D00i=3D00n=3D00g=3D00 =3D00t=3D00h=3D00e=3D00 = =3D =3D00r=3D00e=3D00p=3D00e=3D00a=3D00t=3D00e=3D00d=3D00 = 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(back) Subject: Dave Wickerham Website From: "Robert Ridgeway" <ridgeway@ais.net> Date: Sat, 05 Feb 2000 10:28:58 -0600   Below is the website for Dave Wickerham. His career is now moving from = the Milwaukee area to be the new featured organist in the Fiesta Casino in Las Vegas.   http://www.organman.com/dave   Check out his concert schedule. If he is performing near you it is a = "must attend" event.   Thank you.   Robert Ridgeway, Curator Sanfilippo Collection Barrington Hills, IL  
(back) Subject: Steve Cook Web Page-X-post From: "Bruce Behnke" <behnke@lvcm.com> Date: Sat, 5 Feb 00 09:47:45 -0800   http://home.earthlink.net/~cookks   Steve Cook the orgabuilder who made the instrument for All Saints Episcopal Church in Las Vegas, NV has set up a new web page for his business.   His is a family business that produces small to modest 2 manual instruments. His current project is three Hausorgels that should be finished in about a year. His shop produces keyboards, pedalboards, rollerboards, windchests and all pipes.   If you are looking for your dream home organ or an instrument for a church of modest financial means get in contact with Steve. Even if you aren't looking, please give his web site a hit.   Thanks, Bruce  
(back) Subject: Re: Dir.VS org. applied to Mozart From: "bruce cornely" <rohrschok8@webtv.net> Date: Sat, 5 Feb 2000 14:12:34 -0500 (EST)   Chuck, I would suggest getting a recording of the Mozart and listening, making not of which parts of the accompaniment are most prominent. I did this with the Faure Requiem and what is considered prominent in the accompaniment reduction and what my ears perceived as prominent were vastly different. When I play The Messiah, I generally go for a light contiuo style and toss in orchestral things when they are really important. Let your ears be your guide, and the number of your fingers, as well!! It certainly makes this kind of accompaniment much more enjoyable and painless.   bruce cornely ~:~:~ rohrschok8@webtv.net gainesville, florida   http://community.webtv.net/cremona84000/ALLHAILTHEPOWERand http://community.webtv.net/hydrant/TheBeaglesNest http://community.webtv.net/rohrschok8/OrganMusicLibrary    
(back) Subject: Re: Dir.VS org. applied to Mozart From: "Robert Horton" <gemshorn@falcon.cc.ukans.edu> Date: Sat, 05 Feb 2000 13:46:06 -0600   Chuck, No, you're not a horrible person for seeing the futility of playing a piano reduction as printed on the organ. But you do have some work ahead of you. As far as concerns those repeated bowings, don't try to play them as written--you'll just end up giving yourself a nasty case of RSI. The keyboard equivalent of string tremolandi is the infamous Alberti bass. If you're dealing with repeated notes in the soprano, you have two options depending on the texture and tempo... - Alberti bass in the accompaniment and straight "long notes" in the melody - Alternating octaves back and forth in the melody Similar arguments apply to the cellos and basses. If the original sports a bass line with reiterated 16ths, it's usually sufficient to play reiterated 8ths or alternating 8ths in octaves with an Alberti pattern in 16ths above it. Anything quicker than this will result in mush on most instruments. As Bruce said, listen to a recording and try to zero in on what is actually important. Eliminate anything that is extraneous, especially when the choir is singing. When rendering a transcription on organ the goal is representation, not duplication. Hope this helps. Are there any other unplayable spots out there? -- Robert Horton - GTA, University of Kansas http://falcon.cc.ukans.edu/~gemshorn/    
(back) Subject: Mozart on the organ From: "Bud" <Quilisma@socal.rr.com> Date: Sat, 05 Feb 2000 12:22:49 -0800   First, something perhaps helpful, and then a reminiscence ...   Was the Mozart Requiem one of the organ scores that G. Schirmer issued (along with Messiah, Faure, Saint-Saens, Elijah, etc.)? You might check. Also, you might find it easier if you ENLARGE the reduction so you have = room to circle important passages. But I'd almost prefer to play from the orchestral full score itself ... LOTS more room to mark (grin). OR, = (thanks to the marvels of modern technology) get somebody to SCAN the reduction = into Finale or Sibelius and make your very own organ score with what YOU want = to play on the pages, and on three staves to boot.   ****************************************************   At Oberlin in the '60s, it was customary for the Musical Union to give the first semester choral concert with organ, and the second semester concert with orchestra. One first semester, the choice was the Mozart Requiem ... the late John Gordon Morris, then an undergraduate (organist of The Little Church Around the Corner in NYC at his untimely death) was at the = "revised" Skinner in Finney Chapel ... now, remember, this was at the HEIGHT of the neo-everything-had-to-chiff movement ... when he began the introduction on an 8' Principal ALONE, with NO crescendo WHATSOEVER into the first = entrance of the chorus, there was sort of a collective groan/sigh from the = audience.   Now, I hasten to add that none of this was JOHN'S fault. He had studied organ with Dr. Tom Matthews in Tulsa; he was the one who taught ME how to play a romantic Anglican service; he certainly knew HOW to accompany an oratorio, even as an undergraduate, but I'm sure the Powers-That-Were wouldn't allow THAT at the oh-so-pure-baroque Oberlin of the '60s (evil chuckle).   Did I mention how much I HATED that place? Quit, went to work, finished = my degree with Roberta Gary at Cincinnati and lived a long and happy life WITHOUT Oberlin's imprimatur, thankyewverymuch!   Cheers,   Bud        
(back) Subject: Rollin Smith's Vierne book x-post From: "William T. Van Pelt III" <wvanpelt@erols.com> Date: Thu, 03 Feb 2000 00:46:54 -0500   Dear List:   Rollin Smith has written a brand new book on the life and music of Louis   Vierne. Known by many to be in-the-works, this lavishly illustrated, 800-page tome was worth the wait. The books have, at last, been printed by its publisher and the first shipments have begun arriving at book dealers, including the OHS Catalog (we got ours yesterday and books have   been shipped to all who had placed advanced orders). We have a number in stock to sell for $69 to OHS members, $79 to others. 804-353-9226 or http://www.ohscatalog.org.   Also listed on the website are several other new items, including   1) a biography (in French) of Pierre Cochereau;   2) "Blue Pipes" is a new and unique CD of jazz improvisations realized on a pipe organ;   3) list member Agnes Armstrong's new CD of Victorian Christmas works played at Round Lake (the 3m Ferris organ built in 1847 for Calvary Church, New York, and moved in 1889 to the auditorium of the former Methodist camp meeting ground at Round Lake, New York -- and thus the oldest, large 3m organ existing in the U. S.)   4) many newly-published transcriptions of Cochereau improvisations and a   composed organ symphony;   5) a reissue on CD of Cochereau's famous improv LP recorded at Notre Dame and from which many of the published improvs are transcribed;   6) reissues of two of Olivier Latry's finest CDs on the BNL label which OHS imports: a) "Clockwork Organ" featuring works for flute clocks as played on the 1745 Stumm organ in Kirchheimbolanden and including all 16 of Haydn's works in this genre as well as examples by Handel, Mozart, J. S.   & J. C. Bach, and Balbastre   b) Latry's recording of works by his teacher Gaston Litaize.   7) There are lots of other new goodies, too!   Bill      
(back) Subject: Re: Rollin Smith's Vierne Book From: "Jason McGuire" <jason@johannus-norcal.com> Date: Sat, 05 Feb 2000 16:12:00 -0800   I plan to buy this book, but it will have to wait for a bit. I need to put = a brief note in a program about Vierne's 4th Symphony, the Romance. From = what I understand, Vierne wrote the symphony after the start of WWI. One can = hear the sense of sadness, destruction and violence in some movements, particularly the first. The Romance seems to paint a picture of some release, hope, love going on in the midst of war, but I'm not sure if that is an accurate description. Does anyone really know what Vierne was portraying in that movement? I appreciate any thoughts. Thanks.   Jason McGuire