PipeChat Digest #2241 - Thursday, July 19, 2001
 
Re: information on Garrett House's family tree
  by "Panning" <jpanning@cal-net.net>
RE: July 19 NYC Recital
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
TEST -- please disregard!
  by "Tim Bovard" <tmbovard@earthlink.net>
Bach Fantasia in G Major
  by "Josh Edwards" <fbcorganist@att.net>
Joyce Jones Concert
  by <Innkawgneeto@cs.com>
Re: Joyce Jones Concert
  by <Innkawgneeto@cs.com>
Re: Bach Fantasia in G Major
  by "Brent Johnson" <brentmj@swbell.net>
Re: Bach Fantasia in G Major
  by <quilisma@socal.rr.com>
Re: Bach Fantasia in G Major
  by "Noel Stoutenburg" <mjolnir@ticnet.com>
Re: Joyce Jones Concert
  by "Jackson R. Williams II" <jackwilliams_1999@yahoo.com>
 

(back) Subject: Re: information on Garrett House's family tree From: "Panning" <jpanning@cal-net.net> Date: Wed, 18 Jul 2001 08:30:16 -0500   Hi, Bud. You wrote:   >Somebody who saves their Trackers ... I'd like to find information on >Garrett House's family tree ... one of my parishioner's maiden name was >"House", and she was FASCINATED that she might be related to him ... >she's from the right part of the country, but I don't remember the <details of the House article in the Tracker.   The thing that comes immediately to mind is Tom Finch's article on upstate New York builders in the Bicentennial Tracker. On p. 71 we read:   "Garret House was born in Johnstown on August 9, 1810 and began building organs in Buffalo around 1845. There seem to be several spellings for his first name, apparently he changed it from Garrett to Garret at some time during his career, as Morse41 notes that it was spelled with two t's on some of the earlier nameplates such as the one on his organ in the Trumansburg Methodist Church. Mr. Charles B. Viner described Mr. House as = a "very tall, straight man who wore a silk hat which added to his height." Garret House died on July 21, 1900."   Information about organs House built follows, but there are no further biographical details.   John      
(back) Subject: RE: July 19 NYC Recital From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Wed, 18 Jul 2001 09:44:07 -0400   That's sevendee-fawth, aw yule confuse dah cab dryvuh.   -----Original Message----- From: Jonathan B. Hall [mailto:jonahall@indiana.edu] Sent: Tuesday, July 17, 2001 10:18 PM To: pipechat@pipechat.org Subject: July 19 NYC Recital     Hi!   Here is my next half-hour program on Aeolian-Skinner opus 1412 at The Church of the Epiphany, NYC, this Thursday at 12:15.   Toccata Eugene Gigout Ponder this in your heart Daniel Pinkham Au soir de l'ascension du Seigneur Dom Paul Benoit Lotus Strayhorn/Wyton Toccata and Fugue in d minor J. S. Bach   The Benoit piece is superb...head and shoulders above his "Devotional Pieces..." and I am so sorry I can't honor requests for xeroxes of the Strayhorn...   This recital, like the other seven in my series, is free and lunch may be taken into the church. The organ is an unaltered masterpiece by Joseph Whiteford and is worth quite a pilgrimage. While you're here, visit our delightful Garden and our Baptismal font, the latter carved in the first quarter of the twelfth century. (We were only founded in 1833...the font was a gift.)   Next week, July 26, my colleague and fellow Fellow Frank Crosio will be guest recitalist--I shall be in Pennsylvania working with the RSCM. His program, like all eight in the series, ends with a major Bach work--in his case, the Wedge. I shall be 'bach' on August 2 with the Saint Anne and other pieces.   Why do so many recitals BEGIN with Bach? I find that ENDING with Bach is really refreshing, indeed liberating. The Bishop does not process ahead = of the Acolytes!   The Church of the Epiphany is located on York Avenue on the Upper East = Side at East 74th St. Take the M31 bus from Carnegie Hall and go straight crosstown and up Sutton Place. Or take the 6 train (the green line or the IRT as it's still called) to 77th and Lexington and walk east and south. Or hail a taxi and bark "Yawk and Sevenny-Fawth!"   Call 212-737-2720 x 24 for more information.   Best,   Jonathan         "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: TEST -- please disregard! From: "Tim Bovard" <tmbovard@earthlink.net> Date: Wed, 18 Jul 2001 19:45:26 -0500   Pardon the interruption...if there is one...<g> -- TMB  
(back) Subject: Bach Fantasia in G Major From: "Josh Edwards" <fbcorganist@att.net> Date: Wed, 18 Jul 2001 21:43:22 -0400   Did Bach have regular access to an organ that had a low B below the = standard low C that we have today? The reason I ask is because I studied the Fantasia in G Major and in the middle section, on the second page middle score (Kalmus Ed.) there is a low B written. Of course, I just repeated = the higher B, but why did he write the low one? Is it a mistake written when taken from the original manuscripts? Did the Urtext edition (which I have checked) clarify the low B?   Thanks for any help on this,   Josh Edwards Organist FBC Seymour, TN    
(back) Subject: Joyce Jones Concert From: <Innkawgneeto@cs.com> Date: Wed, 18 Jul 2001 23:36:43 EDT     --part1_3c.e940ebf.2887afcb_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   I thought I would send along the program of Joyce Jones's concert at the Ocean Grove Auditorium (NJ). The organ is a conglomeration, but began as = a Hope-Jones. It is now over 150 ranks.   She razzled and dazzled the audience with her artistry and lightning = speed. I took my 8-year-old son with me to hear Dr. Jones. While her playing = speed keeps her just this side of catastrophe, there is no doubt she knows what = she is doing.   Program (without proper accents, forgive me)   Fete (J. Langlais); Concerto in A minor (Vivaldi, transcribed by JSBach); Finale from Symphony VIII (Widor); "In Paradisium" from Requiem (G. Faure, transcribed by M. Dupre); Variations on a Noel (M. Dupre); Three Descriptive Sketches: Pastorale and Aviary (Myron Roberts); Capriccio on the Notes of the Cuckoo (Richard Purvis); Twilight at Fiesole (from a suite by Seth Binham); Prelude and Dance Fugue (Gaston Litaize); Improvisation on Aka Tombo (The Red Dragonfly) (Joyce Jones); "Last Judgment" from Elegiac Symphony (Camil Van Hulse).   Encores: "Flight of the Bumblebee" and "The Church in the Wildwood"   Peace to you all, Neil Brown   --part1_3c.e940ebf.2887afcb_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><BODY BGCOLOR=3D"#ffffff"><FONT = SIZE=3D2>I thought I would send along the program of Joyce Jones's concert = at the <BR>Ocean Grove Auditorium (NJ). &nbsp;The organ is a conglomeration, but = began as a <BR>Hope-Jones. &nbsp;It is now over 150 ranks. <BR> <BR>She razzled and dazzled the audience with her artistry and lightning = speed. &nbsp; <BR>I took my 8-year-old son with me to hear Dr. Jones. &nbsp;While her = playing speed <BR>keeps her just this side of catastrophe, there is no doubt she knows = what she <BR>is doing. <BR> <BR>Program (without proper accents, forgive me) <BR> <BR>Fete (J. Langlais); <BR>Concerto in A minor (Vivaldi, transcribed by JSBach); <BR>Finale from Symphony VIII (Widor); <BR>"In Paradisium" from Requiem (G. Faure, transcribed by M. Dupre); <BR>Variations on a Noel (M. Dupre); <BR>Three Descriptive Sketches: <BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Pastorale and Aviary (Myron = Roberts); <BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Capriccio on the Notes of the = Cuckoo (Richard Purvis); <BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Twilight at Fiesole (from a suite = by Seth Binham); <BR>Prelude and Dance Fugue (Gaston Litaize); <BR>Improvisation on Aka Tombo (The Red Dragonfly) (Joyce Jones); <BR>"Last Judgment" from Elegiac Symphony (Camil Van Hulse). <BR> <BR>Encores: <BR>"Flight of the Bumblebee" and "The Church in the Wildwood" <BR> <BR>Peace to you all, <BR>Neil Brown</FONT></HTML>   --part1_3c.e940ebf.2887afcb_boundary--  
(back) Subject: Re: Joyce Jones Concert From: <Innkawgneeto@cs.com> Date: Wed, 18 Jul 2001 23:38:28 EDT     --part1_38.191273c2.2887b034_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   I failed to mention that the concert was on Wednesday evening, July 18th, 7:30 pm at the Ocean Grove Auditorium (NJ USA)   Cheers.   --part1_38.191273c2.2887b034_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><BODY BGCOLOR=3D"#ffffff"><FONT = SIZE=3D2>I failed to mention that the concert was on Wednesday evening, = July 18th, <BR>7:30 pm at the Ocean Grove Auditorium (NJ USA) <BR> <BR>Cheers.</FONT></HTML>   --part1_38.191273c2.2887b034_boundary--  
(back) Subject: Re: Bach Fantasia in G Major From: "Brent Johnson" <brentmj@swbell.net> Date: Thu, 19 Jul 2001 00:09:31 -0500   I had this explained to me simply as being written for a French instrument which did have a low B on the pedal board. This is for the same reason = the piece was titles "Piece de Orgue". If I remember correctly at this late hour, Bach had a brother-in-law (or some relative) that played such an organ, and he had this instrument in mind when the piece was written. Brent Johnson The Organ Web Ring http://www.organwebring.com The Organ Classifieds http://www.organclassifieds.com   ----- Original Message ----- From: "Josh Edwards" <fbcorganist@att.net> To: "PipeChat" <pipechat@pipechat.org> Sent: Wednesday, July 18, 2001 8:43 PM Subject: Bach Fantasia in G Major     > Did Bach have regular access to an organ that had a low B below the standard > low C that we have today? The reason I ask is because I studied the > Fantasia in G Major and in the middle section, on the second page middle > score (Kalmus Ed.) there is a low B written. Of course, I just repeated the > higher B, but why did he write the low one? Is it a mistake written = when > taken from the original manuscripts? Did the Urtext edition (which I = have > checked) clarify the low B? > > Thanks for any help on this, > > Josh Edwards > Organist > FBC Seymour, TN > > > "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: Bach Fantasia in G Major From: <quilisma@socal.rr.com> Date: Wed, 18 Jul 2001 22:25:44 -0700   The conjectures about that low B have gone on FOREVER (grin).   The French title, "Piece d'Orgue" may be one clue ... although Bach may = have misunderstood the "ravelment" (sp?) of French organs around that time.   As I understand it, the pedal REEDS extended down below low "C" of the pedal-board in some French organs ... I'm not clear whether the = PEDAL-BOARD did, or if it was just a stop-knob that did this ... or possibly the = French pedal-board was "G"- compass, rather than "C".   In any case, we know the compasses of the organs Bach had access to = regularly, and I don't THINK any of them had a "G"-compass pedal-board; so MAYBE he = wrote it for a French organ (possibly as part of a job application? doesn't seem likely ... Bach was a staunch Lutheran, and France, of course, was Roman Catholic) ... we know that Bach owned copies of de Grigny's music ... = could it have been a present for de Grigny? Are they contemporaries? Don't remember = ...   More questions than answers ...   Cheers,   Bud   Josh Edwards wrote:   > Did Bach have regular access to an organ that had a low B below the = standard > low C that we have today? The reason I ask is because I studied the > Fantasia in G Major and in the middle section, on the second page middle > score (Kalmus Ed.) there is a low B written. Of course, I just repeated = the > higher B, but why did he write the low one? Is it a mistake written = when > taken from the original manuscripts? Did the Urtext edition (which I = have > checked) clarify the low B? > > Thanks for any help on this, > > Josh Edwards > Organist > FBC Seymour, TN > > "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: Bach Fantasia in G Major From: "Noel Stoutenburg" <mjolnir@ticnet.com> Date: Thu, 19 Jul 2001 01:08:44 -0500     bud wrote:   > we know that Bach owned copies of de Grigny's music ... could it > have been a present for de Grigny? Are they contemporaries?   Don't know if de Grigny was contemporary with Bach, but Marchand was, = IIRC. Louis and Johann were nominated as champions, in fact, in a "musical duel" = between their patrons. This was forfeited by Marchand, when he heard JSB practicing, = and Marchand left, apparently without playing a note.        
(back) Subject: Re: Joyce Jones Concert From: "Jackson R. Williams II" <jackwilliams_1999@yahoo.com> Date: Thu, 19 Jul 2001 01:46:02 -0700 (PDT)   I've heard her play many times, but it seems in the past few years she plays faster and faster. It's a pity, really, because she sacrifices so much of the beauty of the music just to show off her facility. I use the word "facility" and not "technique" here, because technique is at the service of the music. Unfortunately, so many people confuse lightning fast playing with great music making. Speed has its appropriate moments, but I think Joyce needs to seriously start listening more to herself when she plays. --- Innkawgneeto@cs.com wrote: > I thought I would send along the program of Joyce > She razzled and dazzled the audience with her > artistry and lightning speed.   > While her playing speed > keeps her just this side of catastrophe, there is no > doubt she knows what she > is doing.     __________________________________________________ Do You Yahoo!? Get personalized email addresses from Yahoo! Mail http://personal.mail.yahoo.com/