PipeChat Digest #2243 - Thursday, July 19, 2001
 
RCCO Convention, Toronto, July 8-13
  by "Judy A. Ollikkala" <71431.2534@compuserve.com>
Re: Joyce Jones Concert
  by <Wurlibird1@aol.com>
Re: Joyce's technique and comments
  by "Steve Chandler" <stevec@open-tech.com>
Re: Joyce's technique and comments
  by "Jackson R. Williams II" <jackwilliams_1999@yahoo.com>
Oh, How could you EVER manage this?
  by "Bill Morton" <wjm@pacbell.net>
RE: Joyce's technique and comments
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
Re: Joyce's technique and comments
  by <Cremona502@cs.com>
Re: Oh, How could you EVER manage this?
  by <TubaMagna@aol.com>
Re: Joyce's technique and comments
  by <Cremona502@cs.com>
RE: Bach Fantasia in G Major
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
 

(back) Subject: RCCO Convention, Toronto, July 8-13 From: "Judy A. Ollikkala" <71431.2534@compuserve.com> Date: Thu, 19 Jul 2001 11:19:54 -0400   Itinerary: Sunday night 7/8/2001, arrived via plane to hotel at 6:30 from Chicago after spending 10 days at my daughter's in Wheaton IL. Their third child, a beautiful baby girl, was born June 29. Went through endless customs lines at airport, filling out forms, they asked me for my passport 3 times, didn't bring it, had my birth certificate instead, plus an hour shuttle bus ride from airport to hotel, registered, dumped luggage, picked up Convention materials, bought a Healey Willan music book at the exhibits, & walked 1/2 mile to Metropolitan United Church of Canada for a Festival Service. Brass Quartet, Elmer Iseler Singers, organ with = Patricia Wright, & the best hymn-singing I have heard for a long time, (happened all week) with the largest organ in Toronto, a 1930 unaltered Casavant with Gallery organs added in 1998. Preacher was Dr. Marva Dawn, a visually impaired & handicapped woman from Washington State who is dynamic. Sat in the balcony, the best acoustical spot. Hotel Exhibit rooms.   Monday -- Workshop "Trends in Organ Construction-Why?" Panel Discussion with Fernand LeTourneau, John Tuttle, Hal Gober, Moderator Patrick Wedd. Convention Luncheon at the hotel, food was excellent. Recital - Knox College Chapel, Kimberly Marshall, Baroque Music, 1989 Helmut Wolff organ: "A Dance Through Time": Buxtehude, de Cabezon, Frescobaldi, Sweelinck, JSBach Solemn Evensong, St. Thomas Anglican Church, John Tuttle, Organist/Music Director, very high worship service with Adoration of the Blessed Sacrament, excellent homily & choir, 1991 Guilbault-Therien organ Supper with Simon Couture, Casavant Rep. at hotel Concert at St. Paul's Anglican Church, Dame Gillian Weir from England with Trumpeter Stuart Laughton, exciting, smashing concert on large 1914 Casavant organ. Howells, Bridge, Messiaen, Willan, Eben   Tuesday -- Workshop "Improvisation" with Naji Hakim from Paris, excellent, at St. James Anglican Cathedral, (my favorite organ), another very large & elegant 1936 Casavant with 5 manual J. W. Walker console. Recital - Deer Park United Church, Jacques van Oortmerssen from Holland, all Bach on 1970 Casavant tracker, a "twin" to the one in the RC Cathedral of Providence RI, very well done recital. Box Lunch at church. Workshop, Timothy Eaton Memorial United Church, Stefan Engels on "Karg-Elert Organ Compositions" very large 1914-1989 Casavant on which he played excerpts. Yorkminster Park Baptist Church, National Competition Organ Finals, PreConvocation recital by Wesley Warren: Bales & Willian. Convocation Awards, Diplomas etc. Large 1926 Casavant. Concert, St. James Cathedral, Victoria Scholars all male choir conducted = by Jerzy Cichocki, Denis Bedard from Quebec City, organ, again par excellence: Hassler, Bach, Durufle, Saint-Saens, Mendelssohn, Bruckner, Denis Bedard, Eleanor Daley, Barrie Cabena, Peter Togni. Reception at hotel.   Wednesday -- 8:30am Church of the Holy Family Oratory, Worship Service: Sung Morning Prayer from the Liturgy of the Hours Peter Bishop and the Oratory Choir, Gabriel Kney residence organ reb. = Gober 2001, St. Benedict's Day, sung/chanted in Latin & English, a most impressive service. Workshop, Bob Chilcott from England, "Motivating Your Choir" . Islington United Church, Concert, Lorna MacDonald, soprano "Practical Sacred Solos, Praise God with a New Song", with David MacDonald, organist, both from Cape Breton, 1994 Schoenstein organ. Box lunch at church. St. Clement's Anglican Church, Organ Recital, Stefan Engels from USA - Alain, Karg-Elert, Vierne, Reger, Germani, 1928 Casavant reb. 1995-2000. Grace Church-on-the-Hill, Afternoon Tea & Lemonade with Butter Tarts. College Service put on by RCCO members, Prelude & Postlude commissioned & played by Kola Owolabi, grad. student Yale Univ., Commisioned Anthems by Ruth Watson Henderson, 1926 Casavant, Choir Director Melva Graham, Organist Fred Graham. Dinner at Elephant and Castle Pub with 4 friends Evening Concert - Lawrence Park Community Church, Naji Hakim, organ, 1998 Casavant organ, a most exciting organ concert, "edge of the seat" stuff: de Grigny, Franck, Naji Hakim (2), Langlais, Messien, Improvisation on Les Marseillaise (sp.) & "O Canada". Encore was a very quiet & meaningful improvisation on "Adoro Te Devote".   Thursday -- Slept in, went to hotel pool and sundeck on 27th floor rooftop overlooking Lake Ontario and skyscrapers. Afternoon Organ Recital, Patrick Wedd at Metropolitan United Church, = "Shall We Dance", Susato, Elmore, Albright, Howells, Stravinsky, Warlock, = Hampton. Encore was "Shall We Dance" from "The King and I" Evening Banquet at hotel, prizes, entertainment by William Bolcom & Joan Morris   Friday -- Organ Crawl 9am to 1:30pm 4 churches, Rosedale Presbyterian: 1982 Wilhelm tracker. Jarvis St. Baptist: Karn-Warren 1912/reb. 1987-91 Andrew Mead 3M., contains 1890's Cavaille-Coll Oboe. St. Andrew's Ev. Lutheran: Samuel R. Warren 188_/Casavant 1915 Opus 619 containing Warren unaltered pipework. St. Paul's RC Basilica of Western Ontario Diocese, highly decorated sanctuary: R. S. Williams & Sons Co., Toronto, 1898 unaltered tracker containing Cavaille-Coll Oboe and big Trumpet. Each organ ably demonstrated.   School busses were used for transportation. In spite of heavy road construction, everything was well-planned and on time. Hotel and weather were awesome.   Submitted by Judy Ollikkala  
(back) Subject: Re: Joyce Jones Concert From: <Wurlibird1@aol.com> Date: Thu, 19 Jul 2001 11:36:53 EDT   Hello to all,   It is quite true that Joyce Jones has experienced many personal life = traumas recently, and she also endured successful open heart surgery. Since we = share the same home town, I am privileged to know her and hear her in = performance quite often. Joyce is a remarkable lady, most gracious, and an excellent organist.   Despite per penchant for rapid tempo, she is virtually flawless in = rendition. Would that I could play her repertoire even at half speed with the = precision she has mastered. This is offered as no defense for Joyce's elevated = tempi but a mere observation that even in rapid performance her accuracy and technique are to be admired and, for me, envied. As to the effect this rapidity of tempi has on listeners, I leave that to the individual to form =   his/her own conclusions. Obviously, these vary widely among other = organists.   Jim Pitts      
(back) Subject: Re: Joyce's technique and comments From: "Steve Chandler" <stevec@open-tech.com> Date: Thu, 19 Jul 2001 10:46:42 -0500   The recent flamefest regarding Joyce Jones gave me a chuckle. I once = commented on one of Anthony Newman's recordings of the three Franck = Chorales, Bach Trio Sonata #4 and the Liszt Prelude and Fugue on BACH (I like them) and = got back a comment that all that probably fit on one side of the record. = It's well known that Tony Newman plays fast and no one thinks twice to criticize him = for it. I haven't heard Joyce Jones's playing of late and don't know if = she's unartistically speedy. But I didn't find anything in Mr. William's = commentary that was offensive, he almost sounded sad about what he heard. = I am curious what Monty Bennett thinks of Anthony Newman's playing and if he'd be so = quick to defend him from his critics.   Cheers,   Steve Chandler   Monty Bennett wrote:   > It kills me (pardon the pun--I am also a funeral director LOL) when one = of=3D20 > our ranks takes it upon him or herself to make comments on an = internationall=3D > y=3D20 > renown concert artist. You may or may not agree with Joyce's tempi, but = she=3D > =3D20 > has technique to burn, is a fabulous musician, a marvelous teacher, and = on=3D20 > top of it, a wonderful Southern lady.   > <snip>   > She's got more=3D20 > pedal technique than most organists could ever wish for in both hands. = I=3D20 > don't want to be ugly, Mr. Williams, but what makes you qualified to = make=3D20 > remarks about other musician's playing? We organists tend to be so = harshly=3D20 > judgemental as to other people's playing. <snip> > Rock Hill, SC=3D20 >   Jackson Williams wrote:   > Anyway, I love her artistry and her personality, but I > feel that lately she sacrifices many beautiful moments > just for speed. I just don't find that very > impressive. People go through various phases with > their playing.    
(back) Subject: Re: Joyce's technique and comments From: "Jackson R. Williams II" <jackwilliams_1999@yahoo.com> Date: Thu, 19 Jul 2001 10:03:55 -0700 (PDT)   I had no idea Joyce has gone through so much recently.   That explains much. My heart goes out to her. She is such a wonderful person and a great artist.   Jack Williams   __________________________________________________ Do You Yahoo!? Get personalized email addresses from Yahoo! Mail http://personal.mail.yahoo.com/  
(back) Subject: Oh, How could you EVER manage this? From: "Bill Morton" <wjm@pacbell.net> Date: Thu, 19 Jul 2001 10:03:40 -0700     --Boundary_(ID_f6moSunkpu/mjL1Fea4BIQ) Content-type: text/plain; charset=3Dus-ascii; format=3Dflowed Content-transfer-encoding: 7BIT   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".   Maybe I don't understand this, but what I think Bud said is that there might have been a stopknob which "translated" the pedals down an interval to give = them the lower compass. I cannot imagine how anyone could play this sort of setup! <G> But then, I have enough trouble playing the pedals in the same scale as the manuals, and the last thing I want to do is have the pedals = on another base pitch. It would be sort of like having only a 5 1/3 on the pedals with Unison Off?   --Boundary_(ID_f6moSunkpu/mjL1Fea4BIQ) Content-type: text/html; charset=3Dus-ascii Content-transfer-encoding: 7BIT   <html> <font size=3D3>As I understand it, the pedal REEDS extended down below low &quot;C&quot; of the <br> pedal-board in some French organs ... I'm not clear whether the PEDAL-BOARD <br> did, or if it was just a stop-knob that did this ... or possibly the French <br> pedal-board was &quot;G&quot;- compass, rather than &quot;C&quot;.<br><br> Maybe I don't understand this, but what I think Bud said is that there might have<br> been a stopknob which &quot;translated&quot; the pedals down an interval to give them the lower compass.&nbsp;&nbsp; I cannot imagine how anyone could play this sort of setup! &lt;G&gt; But then, I have enough trouble playing the pedals in the same scale as the manuals, and the last thing I want to do is have the pedals on another base pitch.&nbsp; It would be sort of like having only a 5 1/3 on the pedals with Unison Off? </font></html>   --Boundary_(ID_f6moSunkpu/mjL1Fea4BIQ)--  
(back) Subject: RE: Joyce's technique and comments From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 19 Jul 2001 13:38:50 -0400   I second this. I heard nothing either in Mr. William's commentary that was offensive. He was making an observation without dishing Dr. Jones' abilities, artistic or otherwise. Reader beware, how you read is how you think!! Robert Colasacco   -----Original Message----- From: Steve Chandler [mailto:stevec@open-tech.com] Sent: Thursday, July 19, 2001 11:47 AM To: PipeChat Subject: Re: Joyce's technique and comments     The recent flamefest regarding Joyce Jones gave me a chuckle. I once commented on one of Anthony Newman's recordings of the three Franck Chorales, Bach Trio Sonata #4 and the Liszt Prelude and Fugue on BACH (I like them) and = got back a comment that all that probably fit on one side of the record. It's well known that Tony Newman plays fast and no one thinks twice to criticize him for it. I haven't heard Joyce Jones's playing of late and don't know if she's unartistically speedy. But I didn't find anything in Mr. William's commentary that was offensive, he almost sounded sad about what he heard. = I am curious what Monty Bennett thinks of Anthony Newman's playing and if he'd be so quick to defend him from his critics.   Cheers,   Steve Chandler   Monty Bennett wrote:   > It kills me (pardon the pun--I am also a funeral director LOL) when one of=3D20 > our ranks takes it upon him or herself to make comments on an internationall=3D > y=3D20 > renown concert artist. You may or may not agree with Joyce's tempi, but she=3D > =3D20 > has technique to burn, is a fabulous musician, a marvelous teacher, and on=3D20 > top of it, a wonderful Southern lady.   > <snip>   > She's got more=3D20 > pedal technique than most organists could ever wish for in both hands. I=3D20 > don't want to be ugly, Mr. Williams, but what makes you qualified to make=3D20 > remarks about other musician's playing? We organists tend to be so harshly=3D20 > judgemental as to other people's playing. <snip> > Rock Hill, SC=3D20 >   Jackson Williams wrote:   > Anyway, I love her artistry and her personality, but I > feel that lately she sacrifices many beautiful moments > just for speed. I just don't find that very > impressive. People go through various phases with > their playing.     "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: Joyce's technique and comments From: <Cremona502@cs.com> Date: Thu, 19 Jul 2001 13:46:35 EDT     --part1_8e.18963907.288876fb_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 7/19/01 7:15:37 AM Eastern Daylight Time, RMB10@aol.com =   writes:     > <It kills me (pardon the pun--I am also a funeral director LOL) when one = of > our ranks takes it upon him or herself to make comments on an > internationally > renown concert artist. You may or may not agree with Joyce's tempi, but =   > she > has technique to burn, is a fabulous musician, a marvelous teacher, and = on > top of it, a wonderful Southern lady.   The facts that anyone has technique to burn, is a fabulous musician, a marvelous teacher, and a wonderful Southern lady are unrelated. I know fabulous musicians who are starved for technique, marvelous teachers who can't play, and wonderful Southern ladies who can do nothing at all except = be a Southern lady (an art in itself).   Just because someone is an internationall reknown concert artist does not = put them on a pedestal without fear of criticism. The criticism the artists =   hear (and they do) helps to keep them grounded musically and possibly otherwise. Criticism (good or bad) is helpful to any artist. Doing this in an unkind way and in public would be wrong, but this is a semi-private forum. I don't think it's right to subscribe to the pie-in-the-sky pollyanna-ish approach of "if you can't say anything = nice...."     > <I don't want to be ugly, Mr. Williams, but what makes you qualified to = make > remarks about other musician's playing? We organists tend to be so = harshly > judgemental as to other people's playing. Why? It doesn't make us any =   > better of a musician.   Well, that was ugly! Mr. Williams is an organist, has apparently heard = many organists play, including Joyce Jones "many times," and has earned the = right for an opinion and by virtue of the fact that he is on this list, has the right to express it. He was not harsly judgmental, although listeners cannot be privy to motives -- ".... she sacrifices so much of the beauty = of the music just to show off her facility." It's more likely that playing = so many recitals and being so familiar with the music, the tempo just = "happens". Maybe she just need someone to whisper in her ear.     > Just remember opinions are like armpits....everyone as them and they all =   > stink. > Hardly the case!   Bruce Cornely ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Duncan, Miles, Molly, and Dewi Visit Howling Acres at http://members.tripod.com/Brucon502/   --part1_8e.18963907.288876fb_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>In a message dated = 7/19/01 7:15:37 AM Eastern Daylight Time, RMB10@aol.com <BR>writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">&lt;It kills me = (pardon the pun--I am also a funeral director LOL) when one of <BR>our ranks takes it upon him or herself to make comments on an <BR>internationally <BR>renown concert artist. &nbsp;You may or may not agree with Joyce's = tempi, but <BR>she <BR>has technique to burn, is a fabulous musician, a marvelous teacher, = and on <BR>top of it, a wonderful Southern lady. &nbsp;</FONT><FONT = COLOR=3D"#000000" SIZE=3D3 FAMILY=3D"SANSSERIF" FACE=3D"arial" = LANG=3D"0"></BLOCKQUOTE> <BR> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"arial" LANG=3D"0">The facts that anyone has technique to burn, is = a fabulous musician, a <BR>marvelous teacher, and a wonderful Southern lady are unrelated. = &nbsp;&nbsp;I know <BR>fabulous musicians who are starved for technique, marvelous teachers = who <BR>can't play, and wonderful Southern ladies who can do nothing at all = except be <BR>a Southern lady (an art in itself). <BR> <BR>Just because someone is an internationall reknown concert artist does = not put <BR>them on a pedestal without fear of criticism. &nbsp;&nbsp;&nbsp;The criticism the artists <BR>hear (and they do) helps to keep them grounded musically and possibly <BR>otherwise. &nbsp;&nbsp;&nbsp;Criticism (good or bad) is helpful to any = artist. &nbsp;&nbsp;&nbsp;&nbsp;Doing <BR>this in an unkind way and in public would be wrong, but this is a <BR>semi-private forum. &nbsp;&nbsp;&nbsp;I don't think it's right to = subscribe to the <BR>pie-in-the-sky pollyanna-ish approach of "if you can't say anything = nice...." <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">&lt;I don't want = to be ugly, Mr. Williams, but what makes you qualified to make <BR>remarks about other musician's playing? &nbsp;We organists tend to be = so harshly <BR>judgemental as to other people's playing. &nbsp;&nbsp;Why? &nbsp;It = doesn't make us any <BR>better of a musician. &nbsp;</FONT><FONT COLOR=3D"#000000" SIZE=3D3 = FAMILY=3D"SANSSERIF" FACE=3D"arial" LANG=3D"0"></BLOCKQUOTE> <BR> <BR>Well, that was ugly! &nbsp;&nbsp;Mr. Williams is an organist, has = apparently heard many <BR>organists play, including Joyce Jones "many times," and has earned the = right <BR>for an opinion and by virtue of the fact that he is on this list, has = the <BR>right to express it. &nbsp;&nbsp;He was not harsly judgmental, = although listeners <BR>cannot be privy to motives -- ".... </FONT><FONT COLOR=3D"#000000" = SIZE=3D2 FAMILY=3D"SANSSERIF" FACE=3D"Arial" LANG=3D"0">she sacrifices so = much of the beauty of <BR>the music just to show off her facility."</FONT><FONT = COLOR=3D"#000000" SIZE=3D3 FAMILY=3D"SANSSERIF" FACE=3D"arial" LANG=3D"0"> = &nbsp;&nbsp;&nbsp;It's more likely that playing so <BR>many recitals and being so familiar with the music, the tempo just = "happens". <BR>&nbsp;&nbsp;Maybe she just need someone to whisper in her ear. <BR> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"arial" LANG=3D"0"> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Just remember = opinions are like armpits....everyone as them and they all <BR>stink. <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D3 FAMILY=3D"SANSSERIF" = FACE=3D"arial" LANG=3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">Hardly the case! <BR> <BR>Bruce Cornely &nbsp;&nbsp;&nbsp;&nbsp;~ &nbsp;Cremona502@cs.com &nbsp; <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR> &nbsp;&nbsp;&nbsp;&nbsp;Duncan, Miles, Molly, and Dewi <BR>Visit Howling Acres at = &nbsp;&nbsp;http://members.tripod.com/Brucon502/</FONT></HTML>   --part1_8e.18963907.288876fb_boundary--  
(back) Subject: Re: Oh, How could you EVER manage this? From: <TubaMagna@aol.com> Date: Thu, 19 Jul 2001 13:47:49 EDT   The pedals DID extend downward, and it was called "Ravalement." A few = 18th century French organs had them, and the Wolff up at McGill university has Anches Ravalements in the Pedale.   SMB  
(back) Subject: Re: Joyce's technique and comments From: <Cremona502@cs.com> Date: Thu, 19 Jul 2001 14:03:37 EDT     --part1_103.6344a89.28887af9_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 7/19/01 11:50:05 AM Eastern Daylight Time, stevec@open-tech.com writes:     > I once commented on one of Anthony Newman's recordings of the three = Franck > Chorales, Bach > Trio Sonata #4 and the Liszt Prelude and Fugue on BACH (I like them) and =   > got back a comment that all that probably fit on one side of the record. =     I remember at the dedication of the Beckerath at the U of Houston, Anthony =   Newman played in his inimitable style. At the reception he was chatting =   with a group of us (including our professor) and happened to mention the = he was recording the complete works of Bach. Our professor commented very dryly... "Well, that should be a perfectly marvellous disc." ;-) Bruce Cornely ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Duncan, Miles, Molly, and Dewi Visit Howling Acres at http://members.tripod.com/Brucon502/   --part1_103.6344a89.28887af9_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>In a message dated = 7/19/01 11:50:05 AM Eastern Daylight Time, <BR>stevec@open-tech.com writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I once commented = on one of Anthony Newman's recordings of the three Franck <BR>Chorales, Bach <BR>Trio Sonata #4 and the Liszt Prelude and Fugue on BACH (I like them) = and <BR>got back a comment that all that probably fit on one side of the = record. </FONT><FONT COLOR=3D"#000000" SIZE=3D3 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0"> <BR>I remember at the dedication of the Beckerath at the U of Houston, = Anthony <BR>Newman played in his inimitable style. &nbsp;&nbsp;At the reception he = &nbsp;was chatting <BR>with a group of us (including our professor) and happened to mention = the he <BR>was recording the complete works of Bach. &nbsp;&nbsp;Our professor = commented very <BR>dryly... "Well, that should be a perfectly marvellous disc." &nbsp;;-) <BR>Bruce Cornely &nbsp;&nbsp;&nbsp;&nbsp;~ &nbsp;Cremona502@cs.com &nbsp; <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR> &nbsp;&nbsp;&nbsp;&nbsp;Duncan, Miles, Molly, and Dewi <BR>Visit Howling Acres at = &nbsp;&nbsp;http://members.tripod.com/Brucon502/</FONT></HTML>   --part1_103.6344a89.28887af9_boundary--  
(back) Subject: RE: Bach Fantasia in G Major From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 19 Jul 2001 14:32:22 -0400   Now you know...they were contemporaries. Here's what a little searching = will turn up...   Grigny organ   Grigny: Hymns=20 Bernard Coudurier, Ensemble Alternatim BNL Productions 112813=20   Contents:   1.Veni creator=20 2.Pange lingua=20 3.Verbum supernum=20 4.Ave maris stella=20 5.A solis ortus=20   Playing time: 67'   Recording date: May & September 1991   Instrument: Orgue historique de Cintegabelle, Moucherel c.1600; = restored 1989, Boisseau and Cattiaux   Nicolas de Grigny (1672-1703), despite his regrettably short life, was = one of the leading organ composers of his generation. His output consists of one large publication, the Organ Book of 1699. = Among its admirers is known to be J. S. Bach, who recopied it in 1703. Grigny's organ music is the most densely = contrapuntal of any French music of that era, and this has ensured its fame.   Despite incorporating many Baroque ideas, the Organ Book looks back to = the older, more rigorous style of Jehan Titelouze (c.1563-1633), who published the first attributed collection of organ = music in France: Hymns de l'Eglise pour toucher sur l'orgue, avec les fugues et recherches sur leur plain-chant (1623). A recording:   Titelouze: Hymns et Magnificat=20 Sylvain Ciaravolo Adda 581305=20   Unfortunately, this recording is currently unavailable (mentioned with hope).   In keeping with the style of the times, Grigny set only alternate = verses for organ, the others to be chanted. For the present recording, the Ensemble Alternatim provides the chant verses in a re-constructed Baroque style. The resulting integrity is admirable, and the Baroque ornaments and tempi are convincing. The fine organ of Cintegabelle, recorded with a wonderful acoustic and played eloquently by Bernard Coudurier, is also a feature = of this performance.   Grigny's Organ Book consists of two parts: the first is a setting of = the mass (including offertory), while the second is a setting of five hymns. The present recording is devoted to the hymns. Many other recordings are available, most excellent, but this one is of high merit in all aspects.   Other recordings of Grigny's Livre d'Orgue:   Grigny: Livre d'Orgue, I: Mass=20 Pierre Bardon Pierre V=E9rany 790031=20 Grigny: Livre d'Orgue, II: Hymns=20 Pierre Bardon Pierre V=E9rany 790041=20 Grigny: Livre d'Orgue=20 Boyer Stil 2604 san 79 (2 CDs)=20 Grigny: Livre d'orgue=20 L'int=E9grale en deux disques John Grew Atma 22169/70 (2 CDs)=20   To purchasing information for this disc   To page of FAQ citation for this disc   Todd M. McComb   -----Original Message----- From: Noel Stoutenburg [mailto:mjolnir@ticnet.com] Sent: Thursday, July 19, 2001 2:09 AM To: PipeChat Subject: Re: Bach Fantasia in G Major       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.         "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