PipeChat Digest #2861 - Monday, May 20, 2002 Felix Hell in Sydney by "Mark Quarmby" <firstname.lastname@example.org> Career Interview - Dennis James - x-post by <MUSCUR@aol.com> Easter 7 and Whitsunday in the Northwest Floridas by "Glenda" <email@example.com> A voice in church this morning by <Posthorn8@aol.com>
(back) Subject: Felix Hell in Sydney From: "Mark Quarmby" <firstname.lastname@example.org> Date: Sun, 19 May 2002 22:48:55 +1000 Well I realise you are all dying to know about Felix Hell=B9s recital today. After my report yesterday on my playing in the Sydney Town Hall, I had several requests for a report on Felix today. > Dear Mark, >=20 > Since Malcolm Wechsler is not in Australia, we're depending on you for a > report of the concert !!! Well I doubt I can come anywhere near writing a report like Malcolm and it is late in the evening after a busy day playing services at St Andrew's Cathedral, so I will give it ago. I first met Felix and his father on Friday. They flew into Sydney on Thursday morning and by the afternoon Felix had found his way to the consol= e of the Sydney Town Hall organ. On Friday morning he played a concert for school children at St Mary's Cathedral (home to a new L=E9tourneau choir orga= n - 3 mans and 46 stops and 59 ranks). During his lunch break he popped down to the Opera House to try out the organ there. At 2.30pm I popped over to St Mary's to watch him showing some more children his shoes, playing the loudest stop, the lowest note and the highest note. Then he played the Bach D Major and the Widor Toccata. After the short recital I was able to meet Felix and his father Hans who are both the most delightful and friendly people you could wish to meet. This afternoon was the main recital and the large nave would have been at least half full, meaning that several hundred people would have been there. I had an excellent seat in the opposite transept to the organ and could see the console clearly. He was playing the monster downstairs console which controls the choir organ and the proposed Grand Orgue for the west end gallery. At the moment some of its stops have been wired up to play the current Petit Grand Orgue of 2 manuals and 27 stops and Felix made use of several echo effects from the far away west end organ. I won't go into detail about every piece on the program. The choice of works seems to be very similar to the programs everyone has commented on in his recitals in the States. His Bach playing was very impressive with fast tempi, but all the notes wer= e there and from where I was sitting, it was all clearly played and articulated. His choice of registration created a gradual crescendo through the fugues but wasn't overdone to the extent of being orchestral. His playing was full of youthful energy. His musicianship and interpretation were very impressive and one could obviously see how much he was enjoying making music by his body language. Mendelssohn's First Sonata was also fast in places but again it was full of excitement and the speed certainly didn't detract from the music. I was particularly interested to hear the Schneider Toccata after all I had read about it on these lists. It was quite a showpiece! The Liszt BACH brought the recital to a close - all in all we had about 2 hours of music. The encore was the Final from Vierne 1, replete with a peda= l glissando to finish! After the concert was over, several of us spent time talking to Felix, his father and his charming mother who had flown from Germany to join them on his Australian tour. For those of you in Melbourne, Brisbane, Adelaide and Perth, make sure you go to hear him when he is there. You won't be disappointed! 22. May Brisbane, Australia. St. Stephen=B4s RC Cathedral. 8 p.m. 26. May Melbourne, Australia. Melbourne Town Hall, 2.30 p.m. 29. May Adelaide, Australia. Adelaide Town Hall,1.10 p.m. 04. June Melbourne, Australia. Melbourne Town Hall, 10 am/11am 07. June Perth, Australia. St. Patrick=B4s RC in Fremantle. Cheers, Mark
(back) Subject: Career Interview - Dennis James - x-post From: <MUSCUR@aol.com> Date: Sun, 19 May 2002 13:49:31 EDT --part1_11d.11441bdf.2a193fab_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit Here's a link to a very detailed recent interview covering all of my music = activities these days that might be of interest: http://www.ronstadt-linda.com/djames.html Dennis James Silent Film Concerts / Musica Curiosa --part1_11d.11441bdf.2a193fab_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">Here's a link to a very detailed recent = interview covering all of my music activities these days that might be of = interest:<BR> <BR> http://www.ronstadt-linda.com/djames.html<BR> <BR> Dennis James<BR> Silent Film Concerts / Musica Curiosa</FONT></HTML> --part1_11d.11441bdf.2a193fab_boundary--
(back) Subject: Easter 7 and Whitsunday in the Northwest Floridas From: "Glenda" <email@example.com> Date: Sun, 19 May 2002 16:20:47 -0500 St. Agatha's Episcopal Church DeFuniak Springs, Florida Easter 7, Year A Prelude: Let the bright Seraphim (from Samson) - G. F. Handel Processional: Jesus shall reign where'er the sun (Duke Street) - H 544 Sequence Hymn: Hail the day that sees him rise (Llanfair) - H 214 Offertory Hymn: Alleluia! Sing to Jesus (Hyfrydol) - H 460 Music during Communion: At the name of Jesus (King's Weston - text H 435) Lord, enthroned in heavenly splendor (Bryn Calfaria - text H 307) - David Johnson Hail, the conquering hero comes (from Judas Macabbeas) - G. F. Handel Closing Hymn: Crown him with many crowns (Diademata) - H 494 Postlude: Presto from Concerto in G - J. S. Bach 'The music today is bright and majestic, selected to focus on our Christ's triumphant ascension as King and Lord after his victory over sin and death. Text of the prelude is "Let the bright seraphim, in burning row, their loud uplifted Angel-trumpets blow. Let the Cherubic host, in tuneful choirs, touch their immortal harps with golden wires." Alleluia, indeed.' Whitsunday, 2002 Prelude: Prelude on "Come down, O Love Divine" - Charles Callahan Fantasie in G-dur (Piece de Orgue) - J. S. Bach Settings of Veni, Creator Spiritus (text and tune H 504): Original plainchant; German modified chorale; prelude by J. S. Bach Processional Hymn: Hail thee, festival day! (Salve feste dies) - H 225 Sequence Hymn: Come down, O Love divine (Down Ampney) - H 516 Offertory Hymn: Spirit divine, attend our prayers (Nun danket) - H 509 Music during Communion: Adagio, Choral, and Variation 3 on Veni Creator - Maurice Durufle Come, Holy Ghost, our souls inspire - Charles Callahan Closing Hymn: O Spirit of the living God (Melcombe) - H 531 Postlude: Pomp and Circumstance No. 1 - Edward Elgar 'The music today honors one of the oldest and most beautiful chants written in the ninth century honoring this day of Pentecost. The Bach prelude reminds one of the wind of the Spirit, first breezy, then a majestic bustle (maybe not as disorderly as a "rushing mighty wind") followed by the buzz before the calm. The postlude is in honor of those graduating this month.' Hey, maybe I was stretching it a bit to justify playing the Fantasie in G. And I saved the first half (don't have the ethereal French voices for the rest of the Adagio, so I cheated) of the Adagio for last at Communion, and didn't get to play it at all. Was in court on Ascension Day at 5:15, when the petitioner rested. I excused myself to call the minister and tell him we were still in hearing - he said not to worry. By the time I made it back in the courtroom the judge had decided to continue the rest of the case, so I flew low to DeFuniak (30 miles) to get to church 15 minutes late. There were only the priest and one parishioner at the service, so no music was necessary. I stayed for the service, but sadly thought of previous Ascension Days. It was Ascension Day in 1988 when I premiered my infamous "asshole" defense to DUI and won at an all-afternoon trial, thereby missing my seat on the boat at the Blessing of the Fleet with the rest of my gang. And past Ascensions at this church were full of people, pomp, incense, majestic music, and a parish dinner following the Eucharist, where the congregation sang gay 90s songs and "Mud". Yes, it is time to leave. Last Sunday before the prelude I found a parishioner standing behind me at the console. I stopped playing (I was practicing) to ask what I could do for her, when she fell on my neck weeping, saying "It will never be the same." The priest encountered me after church and said, "If it's just a sabbatical you want, we can do that, but I would need a commitment from you that you would be back." I just looked at him, smiled and replied, "Father, chances are after 3-4 months without me you won't want me back." Just one more Sunday to make it through - I have removed all my property except what is necessary for next week. After church the priest's wife came up to me and asked if I had "reconsidered letting us doing something for you next week". I bit my tongue and just told her that it was better this way, to keep it quiet, low-key and light (surprisingly brought to mind some old Rogers and Hammerstein piece from a musical - was it "keep it simple, keep it gay" or something like that - can't hum a few bars). Well, next week has me in court 4 out of the 5 days, so that will help keep my mind off the stress of my last day at St. A's. Bless you all for your thoughts and prayers. Glenda Sutton Don't mix your Stoli's Lemonaya with Mountain Dew.
(back) Subject: A voice in church this morning From: <Posthorn8@aol.com> Date: Sun, 19 May 2002 22:31:38 EDT Hi friends, This morning I improvised a trumpet tune as a prelude. We have a Rodgers = 835 with a PR300. I used both the swell trumpet and the MIDI trumpet in the Swell, Principal Chorus and strings (from the PR300) in the Great and = tympani in the pedal. It was simply wonderful. Just as I finished and let my hands = off the keys, an old woman somewhere about half way back said, very = loudly, "Well, that's just about enough of that!" I've been around the block too = many times to be offended. I just sat there and chuckled as did the rest = of the church. It reminded me of a service I played years ago. A woman got up to sing a = solo and my friend's grandmother (God rest her soul) was sitting near the back = of the church. Just as I was ready to start the introduction she leaned over = to the person next to her and "whispered"....."This woman sings like a = chicken." Well, everyone in the church tried so hard not to laugh. But about a = third of the way through the solo, someone burst into laughter. The whole place lost it. The poor woman never did sing there again. Tim Schramm Rochester, NY