PipeChat Digest #2872 - Monday, May 27, 2002
 
Trinity Sunday and Memorial Day (X-posted)
  by <quilisma@socal.rr.com>
Re: New pipe organ in Waco, Texas
  by "Alan Freed" <acfreed0904@earthlink.net>
Trinity Sunday at St. Agatha's - it's finally over
  by "Glenda" <gksjd85@direcway.com>
Re: A voice in church this morning
  by "Alan Freed" <acfreed0904@earthlink.net>
Re: A voice in church this morning
  by "Jim Filsinger" <kimballl@yahoo.com>
Atlanta 6: Welch, Hell, Fehretdinov
  by "Malcolm Wechsler" <manderusa@earthlink.net>
 

(back) Subject: Trinity Sunday and Memorial Day (X-posted) From: <quilisma@socal.rr.com> Date: Sun, 26 May 2002 06:59:17 -0700   St. Matthew's Anglican Catholic Church 2300 Ford Road (at Prairie & Bonita Canyon Roads) Newport Beach CA USA   PONTIFICAL SUNG HOLY COMMUNION at 9 a.m.   Celebrant and Preacher - The Most Rev'd Brother John Charles, FODC, Provincial Archbishop   Voluntary - Wir glauben (double pedal) - Bach? (Krebs?) Processional Hymn - Holy, Holy, Holy - Nicaea Setting - Willan / Scottish Chant For the Gradual - Benedictus es, Domine - Anglican Chant - Stanley in G Offertory Solo - The Lord is My Light - Allitson Communion Solo - Hungry and Thirsty, Lord, I Come To Thee - Opie Hymn - And Now, O Father, Mindful of the Love - Unde et memores Orison - Day By Day - Sumner Recessional Hymn - Holy Father, Great Creator - Regent Square The National Anthem Voluntary - Wir glauben (Clavieruebung III, large) - Bach   (Choir on holiday, due to Memorial Day weekend)   HIGH MASS at 11 a.m.   Celebrant - The Rev'd Richard L. Stapp, curate Preacher - The Most Rev'd Brother John Charles, FODC   Voluntary - Wir glauben (double pedal) - Bach? (Krebs?) Processional Hymn - Holy, Holy, Holy - Nicaea Introit - Benedicta sit - Dr. Willan Setting - Merbecke / Scottish Chant For the Gradual - Benedictus es, Domine - Anglican Chant - Stanley in G Offertory Verse - Benedictus sit - Dr. Willan Offertory Solo - The Lord is My Light - Allitson Communion Verse - Benedicimus Deum - Dr. Willan Solo - Hungry and Thirsty, Lord, I Come To Thee - Opie Hymn - And Now, O Father, Mindful of the Love - Unde et memores Orison - Day By Day - Sumner Recessional Hymn - Holy Father, Great Creator - Regent Square The National Anthem Voluntary - Wir glauben (Clavieruebung III, large) - Bach   MEMORIAL DAY, Monday, May 27   SUNG REQUIEM MASS at 9:30 a.m.   Celebrant and Preacher - The Rev'd Richard L. Stapp, curate   Processional Hymn - Abide With Me - Eventide Introit - Requiem aeternam - Gregorian Kyrie - Merbecke Gradual Hymn - Rock of Ages - Toplady Offertory - Justorum animae - Griesbacher Sanctus - Merbecke Agnus - Gregorian Communion Verse - Lux aeterna - Gregorian Hymn - Nearer, My God, To Thee - Bethany Orison - Day By Day - Sumner Recessional Hymn - My Country, 'Tis of Thee - America   The choir's gone to the mountains for the long weekend, as usual (grin); the Rector's on vacation for two weeks; Brother John Charles stayed around to rest for a few days before he goes back East.   The voluntaries may or may not happen ... they were ready on Friday; then my legs wouldn't work properly on Saturday; so they may get the small Kyries and the small Wir glauben from Clavieruebung III instead.   Cheers,   Bud  
(back) Subject: Re: New pipe organ in Waco, Texas From: "Alan Freed" <acfreed0904@earthlink.net> Date: Sun, 26 May 2002 17:37:17 -0400   On 5/6/02 2:39 PM, "douglas morgan" <dkmorgan76209@yahoo.com> wrote:   > afreed3036@yahoo.com inquires: > >> And (gee, I hope this isn't a habit), why would a >> 20-rank organ have three manuals? << > > Occasionally, organ builders have to build things they > don't want to. One well known mid-west company built > two organs I am familiar with -- one was a 5-manual > with 15 ranks, and the other was a 3-manual with three > ranks.   Douglas: Good grief! I admit you catch me totally unprepared for such figures. (Oh--sorry I'm so late to respond; my mail is sorted into some weird system so I don't know when I've got mail.) Anyway, that must be TERRIBLY embarrassing for the owner or the player of such an organ. Even = if you unified the living daylights out of such an organ, and changed the = names of every rank, depending on where and at what pitch it was playing, it = would soon become evident that the emperor REALLY has no clothes whatsoatall! > > I'm not saying that this is right, but the people > working in these factories have to feed themselves and > their families, and when "experts" insist on something > outrageous, occasionally they have to give in and do > what the customer wants. If they don't get their > paychecks, they will be out the door faster than you > can say "electronic organ". (The company I'm > referring to will build you a 15 manual organ with 20 > ranks of pipes with hot and cold running water and a > built in john if you want one.)   I guess you're right, though it sure makes me scratch my stupid head. > > I don't know anything about the new organ in Waco, but > before we start throwing rocks, let's find out exactly > what we're talking about. > Ok DKM. (a) I admit I don't know what I'm talking about; (b) I do accept your advice. Or at least I'll try to follow it.   Thanks.   Alan Now at acfreed0904@earthlink.net > > =3D=3D=3D=3D=3D > Happy shall he be, that taketh and dasheth thy little ones against the = stones. > > Psalm 137:9 > Oh, dear me!   Alan    
(back) Subject: Trinity Sunday at St. Agatha's - it's finally over From: "Glenda" <gksjd85@direcway.com> Date: Sun, 26 May 2002 17:35:37 -0500   St. Agatha's Episcopal Church DeFuniak Springs, Florida   Pentecost 1: Trinity Sunday   Prelude: Fugue in G minor ("Little") Trio III: Adagio e dolce - J. S. Bach Processional Hymn: Holy, holy, holy, Lord God Almighty (Nicaea) - H 362 Sequence Hymn: Come, thou almighty King (Moscow) - H 365 Offertory Hymn: Round the Lord in glory seated (Rustington) - H 367 Music during Communion: Rhosymedre (tune and text H 587) - Ralph Vaughan Williams Almighty Father, strong to save (Melita; text and tune H 579) Closing Hymn: Holy Father, great Creator (Regent Square) - H 368 Postlude: The Stars and Stripes Forever - J. P. Sousa/ed. E. P. Biggs   Very simple and to my taste - perfect for one who spent 4 of the last 5 working days in court.   I had to give the announcement of my leave-taking just before the closing hymn. I tried to keep it light, and the priest hugged my neck, I guess in order to show the congregation that there were no hard feelings.   I had the most overwhelming desire to play the Passacaglia this morning - isn't that weird? It isn't even in my repertoire. All the scriptures today were benediction-like - sort of fitting. Am glad to see so many of you did the Wir glauben.   Everyone felt compelled to hug my neck. One of the most senior parishioners, a gruff old man, came up to me weeping afterward - that was hard. Two couples and one lady, all dedicated members, are leaving for unrelated reasons, so I guess they'll have to recruit some people to work.   I finally got my stuff packed and left church, only to arrive home and find out that my mother's best friend fell down dead at church this morning. I had to go back to town to tell my mother. I stayed there all afternoon - friends and family drifted in and out. Mom has a very loving church family.   Thanks to all of you for being there for me.   Glenda Sutton gksjd85@direcway.com          
(back) Subject: Re: A voice in church this morning From: "Alan Freed" <acfreed0904@earthlink.net> Date: Sun, 26 May 2002 19:05:12 -0400   Thank you, Tim. Silly-funny, but most enjoyable. The trouble is that guys like you, who have these great tales in your repertoire don't tell them often enough. (For my taste, anyway.) Keep it up.   Alan   On 5/19/02 10:31 PM, "Posthorn8@aol.com" <Posthorn8@aol.com> wrote:   > 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 >    
(back) Subject: Re: A voice in church this morning From: "Jim Filsinger" <kimballl@yahoo.com> Date: Sun, 26 May 2002 17:21:29 -0700 (PDT)   --0-1981125341-1022458889=3D:71901 Content-Type: text/plain; charset=3Dus-ascii     Alan Freed <acfreed0904@earthlink.net> wrote: Thank you, Tim. = Silly-funny, but most enjoyable. The trouble is that guys like you, who have these great tales in your repertoire don't tell them often enough. (For my taste, anyway.) Keep it up.   Alan   On 5/19/02 10:31 PM, "Posthorn8@aol.com" wrote:   > 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 >     "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       --------------------------------- Do You Yahoo!? Yahoo! - Official partner of 2002 FIFA World Cup --0-1981125341-1022458889=3D:71901 Content-Type: text/html; charset=3Dus-ascii   <P> <P>&nbsp; <B><I>Alan Freed &lt;acfreed0904@earthlink.net&gt;</I></B> = wrote: <BLOCKQUOTE style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: = #1010ff 2px solid">Thank you, Tim. Silly-funny, but most enjoyable. The = trouble is that guys<BR>like you, who have these great tales in your = repertoire don't tell them<BR>often enough. (For my taste, anyway.) Keep = it up.<BR><BR>Alan<BR><BR>On 5/19/02 10:31 PM, "Posthorn8@aol.com" = <POSTHORN8@AOL.COM>wrote:<BR><BR>&gt; Hi friends,<BR>&gt; This morning I = improvised a trumpet tune as a prelude. We have a Rodgers 835<BR>&gt; with = a PR300. I used both the swell trumpet and the MIDI trumpet in the<BR>&gt; = Swell, Principal Chorus and strings (from the PR300) in the Great and = tympani<BR>&gt; in the pedal. It was simply wonderful. Just as I finished = and let my hands<BR>&gt; off the keys, an old woman somewhere about half = way back said, very loudly,<BR>&gt; "Well, that's just about enough of = that!" I've been around the block too<BR>&gt; many times to be offended. I = just sat there and chuckled as did the rest of<BR>&gt; the churc <a = href=3D"http://rd.yahoo.com/welcome/*http://fifaworldcup.yahoo.com">Yahoo!<= /a> - Official partner of 2002 FIFA World Cup --0-1981125341-1022458889=3D:71901--  
(back) Subject: Atlanta 6: Welch, Hell, Fehretdinov From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Mon, 27 May 2002 02:03:13 -0400   Dear Lists and Friends,   Today, Saturday, May 11th, at 12:30 p.m., we begin the last concert of the North American Semifinal Round in the 2002 Calgary International Organ Competition. There are three players, Bradley Welch, Felix Hell, and Svetlana Fehretdinov. And so, without further ado:   First at bat, BRADLEY WELCH, who holds a Bachelor's Degree from Baylor, as = a student of Joyce Jones, and a Master's Degree from Yale, where he studied with Thomas Murray and Martin Jean. He is Organist of Highland Park Presbyterian Church in Dallas.   He began with Bach Trio Sonata No. 4 in E Minor. I love that opening = Adagio and the transition to the Vivace, and I loved the expressive and sure way = it was presented, with a fine registration with no 16' stop in the Pedal. For the slow movement, Bradley found a ravishing quiet registration, both = manual parts with very gentle tremulants. The registration for the Allegro was considerably brighter - still with well matched voices - a light 16 in the Pedal. This was very spirited and graceful playing - certainly among the very best trio performances I have heard.   Two works of Guillou in one day, the first played now, Les Feux du Silence (The Fires of Silence), which were not, in fact, particularly silent. This is one of the four sections of "Hyperion or the Rhetoric of Fire," an exploration in music of the idea of "human fire," dedicated to the Titan Hyperion, father of Helios, the Sun God. Here is part of Guillou's note on this work, as found in his website. I have reluctantly removed all the diacriticals so it sets off no alarms in anyone's e-mail program. << se trouve l'idee du Feu humain sur lequel je decidai d'elaborer cette musique dediee au titan Hyperion. >> Bradley certainly gave it a Titanic performance, and I was glad to have a chance to hear this, to me, unknown work.   Liszt "Ad nos" number two, the first having been played by Vincent Dubois just yesterday afternoon, and I want to be clear that I am not mentioning that to create any impression that this was wearying. Not a bit of it. I = am close to the end of a four day marathon of organ music, approximately 18 hours of it, and it has been endlessly gripping - music I love, engaging players, each bringing something unique to the table. It's been = incredible, and I have learned a lot from it. Bradley gave this Liszt its terrifically dramatic opening in full measure, the gentle bits were deliciously vocal, and the entire performance held us tightly right to the end. Splendid playing. Try to hear this man if the opportunity arises! We need another prize! One for music management. The immense number of notes in this piece were held in a thick binder which, through clever rearrangement and organization via the wonders of Xerography, compensated for the inability = or unwillingness of publishers to worry any longer about page turns. It was = all very neat, and one had to marvel that all the many turns were accomplished quickly, noiselessly & without mishap.   I have heard FELIX HELL so many times, have written about him a lot, and wondered, before he played in Atlanta, if there could be something new to add. I think there is, as this was a performance with an added edge to it for him. In this event, pleasing an audience took second place to the business of hoping to impress five judges. Felix has been pleasing = audiences regularly with no difficulty, but the idea of five wise members of our profession sitting behind music stands in the back of the hall, evaluating his every move, was something new, and he mentioned for the first time in = my hearing that he felt nervous about this. It was my guess that he would be one of those players able to turn that nervousness into an exciting performance. I was not wrong! Like Bradley Hull before him, Felix also had = a spiral bound volume with all of his music together, organized for easy = page turning. He did actually turn two pages at one point, I think in the = Liszt, but he was so cool, and knows the music so totally, that he was able to = deal with it. He won't get the page turning prize, however!   He began with the great G Minor Fantasy and Fugue, with a sturdy and confident opening! WHEW! All is well. He is in total control! He slightly modified his unique articulation in the secondary section, in a way that seemed to work better in this non-resonant environment. In the Fugue, he played as one possessed - it really rocked. It was not sedate! A little sociological aside here. There were 18 competitors in Atlanta, and for the most part, they became a cohesive group, and Felix was very much a part of that, despite being 5 years younger than the next oldest, and 15 years younger than the oldest competitor. Many, perhaps most, of the competitors did not attend the performances of others before they themselves had = played, but by the time we got to this, the last concert, all except Bradley, = Felix, and the last performer, Svetlana Fehretdinov, had played, and felt free to come and listen. This became time for Felix, the youngest of the gang, to get up and prove himself. Well, all it took was the G Minor, and when it = was over, there was a genteel but cheerful sound of approval from the other competitors - a lovely moment, I thought.   I have come to terms with Felix's approach (which I do think has changed somewhat) to the great ornamented choral preludes like Schmuecke dich and = O Mensch bewein, the latter of which he played now. His ornamentation is elegantly fluid, and I understand better now the gentle accelerandi and ritardandi of his accompaniment - I have had some trouble with this, but I understand it better, and I believe he has made his intentions more clear = in his playing of these intensely beautiful works.   We have heard 3 and 4, and now Felix gives us Mendelssohn Sonata No. 1 in = F Minor. The beginning felt a bit fast to me, but he made the speed convincing. The slow movement was elegantly and expressively done. The <Andante recitativo> has to be one of the most intriguing movements in the sonatas. Felix handled it deftly and cleanly, and then burst into the Allegro with immense power and excitement. Somehow, the word turbulence comes to mind, and in the midst of all of it, the incredible <en chamade> Trumpet sang out the melody at a major climactic moment. I have visions of the judges activating their pencils hastily at this obstreperous behavior, but I thought it just right for the moment! People named Felix do = understand each other.   And now for something completely different, and I believe for all but one = or two people I knew in the audience that had heard it, it really was completely different! Music by Norbert Schneider (b. 1950), aerobics by Felix Hell (b. 1985): Toccata "Schlafes Bruder," part of a film score for the movie Schlafes Bruder, in turn, based on a book of the same name by Robert Schneider, unrelated to the composer. About the movie: "From the moment of his birth, Elias Alder possessed a supernatural talent for = music. But is it the voice of God which speaks through Elias, or the gift of the Devil?" When you hear the music, you may not be able to answer that question! Both the video and the book (in translation as Brother of Sleep) are available on Amazon. I am told the film shows up on E-Bay from time to time. Felix has recorded this work at Sacred Heart Cathedral, Newark, and the recording is available at www.ohscatalog.org/ You can tell I have got into this piece. It is rather unforgettable. Is there anyone else around = who plays it? If I could ever learn it, and play it every day, I could give up the Slimfast! It has to be heard to be believed.   A bit over a year ago, Felix played a recital for the AGO chapter to which = I belong, Fairfield West (CT), and in it, played his first public = performance of the Liszt B-A-C-H. He spent an enormous amount of time registering the work, and the performance was really fine. He lavished a lot of time and care on registering this again in Spivey Hall, and the result was again superb. It was a great ending to an interesting, beautiful, and powerful recital. Felix Hell is a student of John Weaver at the Curtis Institute. = As I write this, he is on an Australian concert tour, taking him to Sydney, Melbourne, Brisbane, Adelaide, and all the way to Perth. He is playing = more than once in a few of these locations, and will then give two concerts in South Korea, before returning home.   I first heard SVETLANA FEHRETDINOV play, about a couple of years ago, at = St. Agnes Church, Manhattan, in a concert awarded to her a winner of the Organ Playing Competition sponsored by the NYC Chapter of the AGO. I am grateful to have had a chance now to hear her once again. Her early study was at = the Moscow Conservatory, but when the family moved to the U. S., she began = study at Manhattan School of Music, under McNeil Robinson, from which place she earned a Bachelor's Degree. She then earned the Artist Diploma from the Curtis Institute, studying with John Weaver.   Our third performance of the Franck Fantasy in A began the recital. The playing was wonderful. I thought more care could have been taken with registration. Some reedy bits were quite unsupported by sufficient = fluework.   We next heard the second version of Bach Trio Sonata No. 4 of this = recital, Bradley Welch having begun with it back at 12:30! It seemed odd to hear = lots of 16' Pedal once again, and the Pedal was nonetheless indistinct, with = not anything of sufficient clarity above the 16'. The slow movement was played without Pedal 16', and balances were decent all around. For the last movement, a cheerful gap registration sparkled away on top.   Here followed our third (and, of course, final) fine performance of the Durufle Scherzo, followed by the only performance here of another Durufle work, one not often heard, but certainly undeservedly neglected, based on the Bells that ring out the time from the tower of the Cathedral of Soissons: <Fugue sur le theme du Carillon des Heures de la Cathedrale de Soissons,> played, no less, in the presence of the Titular Organist at Soissons, Vincent Dubois, who had played in this competition the day = before. It was great to hear this piece - it's been two or three years since my = one earlier hearing - and the performance was indeed brilliant.   More musical Aerobics. Svetlana ended her program with a brilliant performance of the astonishing Toccata by Jean Guillou, a tumultuous = ending both to her recital, this concert, and the entire wonderful series of 18 recitals within six three-hour concerts which began on Wednesday evening.   We, the audience, were not a large group, I would guess from 25 to as many as 50 at different times. Most, I believe, were, like myself, there for = the entire time. The combination of a fabulous feast of glorious music for Organ, a fine instrument, and a remarkable collection of great young performers, made of us a most privileged community. For those of you who were not able to make the trip, I hope I have been able to give some = flavor of what the experience was like.   Malcolm Wechsler www.mander-organs.com