PipeChat Digest #3219 - Monday, November 11, 2002
 
Cameron Carpenter concert <long>
  by "Jonathan" <jhumbert@ptd.net>
Re: Widor Toccata
  by "Dennis Goward" <dlgoward@qwest.net>
Re: Widor Toccata
  by "Teah" <teahzg@charter.net>
Re: Widor's Toccata
  by "John Foss" <harfo32@hotmail.com>
Re: Widor Toccata
  by <Gfc234@aol.com>
Re: Widor Toccata
  by "Roger Brown" <roger2@rogerbrown.no-ip.org>
RE: Bach- quirky registration
  by <cmys13085@blueyonder.co.uk>
 

(back) Subject: Cameron Carpenter concert <long> From: "Jonathan" <jhumbert@ptd.net> Date: Mon, 11 Nov 2002 00:35:47 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_001F_01C2891A.46E59040 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   "Hi everybody":   I just got back from the Cameron Carpenter organ concert (obviously). =3D Cameron is a very engaging young man and a very ambitious organist. The = =3D concert was at Grace Lutheran Church in Lancaster, PA, on a 1967 3/52 =3D Schlicker. He used no music for his prepared pieces and even had the =3D "church people" take the music rack off the console beforehand so he had = =3D more freedom of movement. The Schlicker had a rocker-tab console so I =3D guess he was justified in asking for some extra room. I sat in the =3D balcony for the first half and in the front of the church for the =3D second. Whilst in the balcony, I attempted to watch his hands and =3D (especially) feet. I say "attempted" because it was hard to keep up. =3D Those poor pedals didn't have a chance.   Here is the program:   Leo Sowerby Pageant J.S. Bach Prelude & Fugue in D, BWV = =3D 532 Robert Schumann Canon in B-minor Marcel Dupre Esquisse in E minor an addition of a Skye Boat Song--transcribed from a brass band piece Bach (transcribed Carpenter) Prelude & Fugue No. 15 in G =3D (Well-Tempered Clavier, Bk. 1) Wilhelm Muddelshulte Perpetuum Mobile   Intermission   Franz Liszt Prelude & Fugue on B-A-C-H Bach Choral Prelude on "Nun = =3D komm, der Heiden Heiland," BWV 659 Frederic Chopin (transcribed Carpenter) Etude in C-sharp =3D minor, Op. 10 No. 4 Improvisation, partially based on themes suggested by audience   Cameron called the Sowerby an "extravaganza" and that it was. The P&F =3D in D was, in my opinion, blindingly fast. Apparently he had a small =3D memory lapse which was quite undetectable. Schumann piece was written =3D for pedal piano and was quite a unique and romantic piece. The Dupre =3D was a study piece written to exploit the fact that electricity allowed =3D for rapidly repeated notes to now be played on pipe organs. This was =3D the very thing that Mr. Carpenter did with a tempo that started out =3D running and never looked back; albeit, well-articulated. The Skye Boat = =3D Song was a transcription of a piece Cameron apparently heard performed =3D by a brass band. It was a beautiful color piece about the boat that =3D goes from Great Britain out to the island of Skye (complete with =3D Zimbelstern as the "bells" on the boat. The P&F from the Well-Tempered = =3D Clavier was his transcription wherein he played the right hand of the =3D music with his right hand, and the left hand part of the music with his = =3D feet (again, displaying his pedal prowess). I must say, though, that =3D his tempo was faster than I've ever heard it played, even on the piano. = =3D The Muddelshulte was a short piece written on the theme from the Wedge =3D Fugue. It was played entirely on the pedals and went like a Paganinni =3D violin piece. It ends with four-note chords (on the pedals) spelling =3D out B-A-C-H's name.   After the intermission I moved to the front of the church. Liszt's P&F = =3D sounded incredible from the front. It did seem like many "liberties" =3D were taken with interpretation, but all in all, it was an enjoyable =3D performance. The Choral Prelude really brought to light the sound of =3D the but 2 digital stops (recently added by Walker Technical Co.): a 32' = =3D and a 16' Bourdon. Particularly in this piece, the 32' digital stop was = =3D not very far from overpowering, (on louder pieces, though, it was fine) = =3D although it may have had to do with my position in the building. The =3D Chopin Etude was again transcribed by Cameron and played just like the =3D earlier Bach: right hand=3D3Dright hand and left hand=3D3D pedals. = Finally, =3D his improvisation was to be on any 3 hymns from the Lutheran hymnal =3D which would then be formed into a romantic, 3 movement symphony. He =3D would play the melody line from each hymn (on a single stop) before =3D starting that movement. The first hymn was Amazing Grace and became =3D what sounded like a Prelude movement. The second hymn was Eternal =3D Father, Strong to Save and sounded like a Fantasy. I'm afraid I did not = =3D hear what the third hymn was (besides the person chose it out of WOV and = =3D not the Lutheran hymnal (incidentally, I asked Cameron afterwards what =3D the third hymn was and he said that he had forgotten). I can't quite =3D "title" the final movement, but he did eventually bring all three tunes = =3D in together near the end: Amazing Grace on the pedals and the other two = =3D on the manuals. The Schliker had a wonderful romantic, symphonic sound = =3D to it, although the Bach Choral Prelude fit right in as well. He then =3D ended (after copious applause) with an encore (of his own arranging) of = =3D Stars and Stripes Forever, complete with crowd clapping as the song sped = =3D on to a very satisfying end.   They say that Cameron Carpenter is the next Virgil Fox. I now see why. = =3D Tempo, registration and, shall we say, ornamentation are not always =3D traditional. Historical accuracy may not be prevalent, but he does a =3D mean concert. The music is exciting and the crowd (me included) heard a = =3D talented and personable organist perform.   Cameron asked me to say "hi" to everyone on the list and to apologize =3D for not participating. When you hear him play, you can imagine why he =3D must have no time. He did give me his email address (or actually, that = =3D of his representative). It is StarArts@aol.com. I definitely recommend = =3D you get to hear Cameron Carpenter play. It's an exciting time.   Regards, Jonathan Humbert Organist, Word of Life Chapel, Bainbridge, PA jhumbert@ptd.net=3D20   ------=3D_NextPart_000_001F_01C2891A.46E59040 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D charset=3D3Diso-8859-1"> <META content=3D3D"MSHTML 6.00.2719.2200" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT face=3D3D"Bookman Old Style">"Hi everybody":</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style"></FONT>&nbsp;</DIV> <DIV><FONT face=3D3D"Bookman Old Style">I just got back from&nbsp;the =3D Cameron=3D20 Carpenter organ concert (obviously).&nbsp; Cameron is a very engaging =3D young man=3D20 and a very ambitious organist.&nbsp; The concert was at Grace Lutheran =3D Church in=3D20 Lancaster, PA, on a 1967 3/52 Schlicker.&nbsp; He used no music for his = =3D prepared=3D20 pieces and even had the "church people" take the music rack off the =3D console=3D20 beforehand so he had more freedom of movement.&nbsp; The Schlicker had a = =3D   rocker-tab console so I guess he was justified in asking for some = extra=3D20 room.&nbsp; I sat in the balcony for the first half and in the front of = =3D the=3D20 church for the second.&nbsp; Whilst in the balcony, I attempted to watch = =3D his=3D20 hands and (especially) feet.&nbsp; I say "attempted" because it was hard = =3D to keep=3D20 up.&nbsp; Those poor pedals didn't have a chance.</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style"></FONT>&nbsp;</DIV> <DIV><FONT face=3D3D"Bookman Old Style">Here is the program:</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style"></FONT>&nbsp;</DIV> <DIV><FONT face=3D3D"Bookman Old Style">Leo=3D20 Sowerby&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= =3D &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&= =3D nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Pageant</FONT>= =3D </DIV> <DIV><FONT face=3D3D"Bookman Old Style">J.S.=3D20 Bach&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= =3D sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs= =3D p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp= =3D ;&nbsp;&nbsp;Prelude=3D20 &amp; Fugue in D, BWV 532</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style">Robert=3D20 Schumann&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp= =3D ;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= =3D &nbsp;Canon=3D20 in B-minor</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style">Marcel=3D20 Dupre&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n= =3D bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= =3D sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Esquisse=3D20 in E minor</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style">an addition of a Skye Boat =3D Song--transcribed=3D20 from a brass band piece</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style">Bach (transcribed=3D20 Carpenter)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Prelude &amp; Fugue No. 15 = =3D in G=3D20 (Well-Tempered Clavier, Bk. 1)</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style">Wilhelm=3D20 Muddelshulte&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&= =3D nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Perpetuum=3D20 Mobile</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style"></FONT>&nbsp;</DIV> <DIV><FONT face=3D3D"Bookman Old Style">Intermission</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style"></FONT>&nbsp;</DIV> <DIV><FONT face=3D3D"Bookman Old Style">Franz=3D20 Liszt&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n= =3D bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= =3D sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Prel= =3D ude=3D20 &amp; Fugue on B-A-C-H</FONT></DIV> <DIV><FONT=3D20 face=3D3D"Bookman Old =3D Style">Bach&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n= =3D bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= =3D sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs= =3D p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Choral=3D20 Prelude on "Nun komm, der Heiden Heiland," BWV 659</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style">Frederic = Chopin&nbsp;(transcribed=3D20 Carpenter)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= =3D sp;&nbsp;&nbsp;&nbsp;=3D20 Etude in C-sharp minor, Op. 10 No. 4</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style">Improvisation, partially based on = =3D themes=3D20 suggested by audience</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style"></FONT>&nbsp;</DIV> <DIV><FONT face=3D3D"Bookman Old Style">Cameron called the Sowerby an =3D "extravaganza"=3D20 and that it was.&nbsp; The P&amp;F in D was, in my opinion, = blindingly=3D20 fast.&nbsp; Apparently he had a small memory lapse which was quite=3D20 undetectable.&nbsp; Schumann piece was written for pedal piano and was =3D quite a=3D20 unique and romantic piece.&nbsp; The Dupre was a study piece written to = =3D exploit=3D20 the fact that electricity allowed for rapidly repeated notes to now be =3D played on=3D20 pipe organs.&nbsp; This was the very thing that Mr. Carpenter did with a = =3D tempo=3D20 that started out running and never looked back; albeit, =3D well-articulated.&nbsp;=3D20 The Skye Boat Song was a transcription of a piece Cameron apparently =3D heard=3D20 performed by a brass band.&nbsp; It was a beautiful color piece about =3D the boat=3D20 that goes from Great Britain out to the island of Skye (complete with=3D20 Zimbelstern as the "bells" on the boat.&nbsp; The P&amp;F from the =3D Well-Tempered=3D20 Clavier was his transcription wherein he played the right hand of the =3D music with=3D20 his right hand, and the left hand part of the music with his feet =3D (again,=3D20 displaying his pedal prowess).&nbsp; I must say, though, that his tempo = =3D was=3D20 faster than I've ever heard it played, even on the piano.&nbsp; The =3D Muddelshulte=3D20 was a short piece written on the theme from the Wedge Fugue.&nbsp; It =3D was played=3D20 entirely on the pedals and went like a Paganinni violin piece.&nbsp; It = =3D ends=3D20 with&nbsp;four-note chords (on the pedals) spelling out B-A-C-H's=3D20 name.</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style"></FONT>&nbsp;</DIV> <DIV><FONT face=3D3D"Bookman Old Style">After the intermission I moved to =3D the front=3D20 of the church.&nbsp; Liszt's P&amp;F sounded incredible from the =3D front.&nbsp; It=3D20 did seem like many "liberties" were taken with interpretation, but all =3D in all,=3D20 it was an enjoyable performance.&nbsp; The Choral Prelude really brought = =3D to=3D20 light the sound of the but 2 digital stops (recently added by Walker =3D Technical=3D20 Co.): a 32' and a 16' Bourdon.&nbsp; Particularly in this piece, the 32' = =3D digital=3D20 stop was not very far from overpowering, (on louder pieces, though, it =3D was=3D20 fine)&nbsp;although it may have had to do with my position in the=3D20 building.&nbsp; The Chopin Etude was again transcribed by Cameron and =3D played=3D20 just like the earlier Bach: right hand=3D3Dright hand and left hand=3D3D = =3D pedals.&nbsp;=3D20 Finally, his improvisation was to be on any 3 hymns from the Lutheran =3D hymnal=3D20 which would then be formed into a romantic, 3 movement symphony.&nbsp; =3D He would=3D20 play the melody line from each hymn (on a single stop)&nbsp;before =3D starting that=3D20 movement.&nbsp; The first hymn was Amazing Grace and became what sounded = =3D like a=3D20 Prelude movement.&nbsp; The second hymn was Eternal Father, Strong to =3D Save and=3D20 sounded like a Fantasy.&nbsp; I'm afraid I did not hear what the third =3D hymn was=3D20 (besides the person chose it out of WOV and not the Lutheran hymnal=3D20 (incidentally, I asked Cameron afterwards what the third hymn was and he = =3D said=3D20 that he had forgotten).&nbsp; I can't quite "title" the final movement, = =3D but he=3D20 did eventually bring all three tunes in together near the end: Amazing =3D Grace on=3D20 the pedals and the other two on the manuals.&nbsp; The Schliker had a =3D wonderful=3D20 romantic, symphonic sound to it, although the Bach Choral Prelude fit =3D right in=3D20 as well.&nbsp; He then ended (after copious applause) with an encore (of = =3D his own=3D20 arranging) of Stars and Stripes Forever, complete with crowd clapping as = =3D the=3D20 song sped on to a very satisfying end.</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style"></FONT>&nbsp;</DIV> <DIV><FONT face=3D3D"Bookman Old Style">They say that Cameron Carpenter is = =3D the next=3D20 Virgil Fox.&nbsp; I now see why.&nbsp; Tempo, registration and, shall we = =3D say,=3D20 ornamentation are not always traditional.&nbsp; Historical accuracy may = =3D not be=3D20 prevalent, but he does a mean concert.&nbsp; The music is exciting and =3D the crowd=3D20 (me included) heard a&nbsp;talented and personable organist=3D20 perform.</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style"></FONT>&nbsp;</DIV> <DIV><FONT face=3D3D"Bookman Old Style">Cameron asked me to say "hi" to = =3D everyone on=3D20 the list and to apologize for not participating.&nbsp; When you hear him = =3D play,=3D20 you can imagine why he must have no time.&nbsp; He did give me his email = =3D address=3D20 (or actually, that of his representative).&nbsp; It is <A=3D20 href=3D3D"mailto:StarArts@aol.com">StarArts@aol.com</A>.&nbsp; I =3D definitely=3D20 recommend you get to hear Cameron Carpenter play.&nbsp; It's an exciting = =3D   time.</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style"></FONT>&nbsp;</DIV> <DIV><FONT face=3D3D"Bookman Old Style">Regards,</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style">Jonathan Humbert<BR>Organist, Word = =3D of Life=3D20 Chapel,</FONT></DIV> <DIV><FONT face=3D3D"Bookman Old Style">Bainbridge, PA<BR><A=3D20 href=3D3D"mailto:jhumbert@ptd.net">jhumbert@ptd.net</A> =3D </FONT></DIV></BODY></HTML>   ------=3D_NextPart_000_001F_01C2891A.46E59040--    
(back) Subject: Re: Widor Toccata From: "Dennis Goward" <dlgoward@qwest.net> Date: Sun, 10 Nov 2002 23:11:03 -0700   .. . . the asses at my church . . . .. . . i am fed up. . . . .. . .these jerks!   Why are you wasting your great talent on a church? You don't seem to have much love for the people. Perhaps you should go where you will be appreciated. It would be better for you AND them.   Dennis Goward      
(back) Subject: Re: Widor Toccata From: "Teah" <teahzg@charter.net> Date: Mon, 11 Nov 2002 00:56:38 -0600   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0060_01C2891D.30825560 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   Oh, I can relate Greg! Every now and again, I raise all Hades with the = =3D g minor Fantasy and Fugue for a prelude... it DOES tend to quiet the =3D chit chatting, and the congregation actually responds well. Besides, if = =3D I have to be awake and attentive that early on a Sunday morning, so do =3D they! LOL   Cheers,   Tim ----- Original Message -----=3D20 From: Gfc234@aol.com=3D20 To: pipechat@pipechat.org=3D20 Sent: Sunday, November 10, 2002 8:29 PM Subject: Re: Widor Toccata     no-the asses at my church walk out on bach preludes and fugues-so far, = =3D they've done it on the d minor, d major, e minor and a minor. last week = =3D i played franck prelude fugue and variation as a prelude and people =3D talked over it. later in the service a recent addition to the staff, a = =3D contemporary "musician" played 4 chords repetedly on the guitar and sang = =3D out of tune and people clapped. i am fed up. today i improvised on a =3D hymn using full organ--still-they left. the days of big preludes and =3D postludes are over for these jerks!=3D20 gregory=3D20     --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.417 / Virus Database: 233 - Release Date: 11/8/2002 ------=3D_NextPart_000_0060_01C2891D.30825560 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D charset=3D3Diso-8859-1"> <META content=3D3D"MSHTML 6.00.2800.1106" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT face=3D3DArial size=3D3D2>Oh, I can relate Greg!&nbsp; Every = now =3D and again, I=3D20 raise all Hades with the g minor Fantasy and Fugue for a prelude... it =3D DOES tend=3D20 to quiet the chit chatting, and the congregation actually responds =3D well.&nbsp;=3D20 Besides, if I have to be awake and attentive that early on a Sunday =3D morning, so=3D20 do they!&nbsp; LOL</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Cheers,</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Tim</FONT></DIV> <BLOCKQUOTE=3D20 style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =3D BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style=3D3D"FONT: 10pt arial">----- Original Message ----- </DIV> <DIV=3D20 style=3D3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =3D black"><B>From:</B>=3D20 <A title=3D3DGfc234@aol.com =3D href=3D3D"mailto:Gfc234@aol.com">Gfc234@aol.com</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>To:</B> <A =3D title=3D3Dpipechat@pipechat.org=3D20 href=3D3D"mailto:pipechat@pipechat.org">pipechat@pipechat.org</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Sent:</B> Sunday, November 10, 2002 = =3D 8:29=3D20 PM</DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Subject:</B> Re: Widor =3D Toccata</DIV> <DIV><BR></DIV> <DIV><FONT face=3D3Darial,helvetica><FONT size=3D3D2>no-the asses at my = =3D church walk=3D20 out on bach preludes and fugues-so far, they've done it on the d =3D minor, d=3D20 major, e minor and a minor. &nbsp;last week i played franck prelude =3D fugue and=3D20 variation as a prelude and people talked over it. &nbsp;later in the =3D service=3D20 &nbsp;a recent addition to the staff, a contemporary "musician" played = =3D 4=3D20 chords repetedly on the guitar and sang out of tune and people =3D clapped.=3D20 &nbsp;i am fed up. today i improvised on a hymn using full =3D organ--still-they=3D20 left. &nbsp;the days of big preludes and postludes are over for these = =3D jerks!=3D20 <BR>gregory</FONT> <FONT size=3D3D2></FONT></FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT face=3D3Darial,helvetica><FONT size=3D3D2><BR>---<BR>Outgoing = =3D mail is=3D20 certified Virus Free.<BR>Checked by AVG anti-virus system (<A=3D20 =3D href=3D3D"http://www.grisoft.com">http://www.grisoft.com</A>).<BR>Version: = =3D 6.0.417=3D20 / Virus Database: 233 - Release Date:=3D20 11/8/2002</FONT></FONT></DIV></BLOCKQUOTE></BODY></HTML>   ------=3D_NextPart_000_0060_01C2891D.30825560--    
(back) Subject: Re: Widor's Toccata From: "John Foss" <harfo32@hotmail.com> Date: Mon, 11 Nov 2002 09:59:58 +0200   Dear list I'm coming in a bit late on this, but as I only have time at the moment = for the digest this is the way things go. The instant cut and thrust is = missing, but it does allow time - some at any rate - for a thought on the subject. Those of us who had the luxury of a music college education, which, apart from world class teachers and an atmosphere of intense competition = (talent, time and a skin like a rhinoceros, as Kiri Te Kanawa said, or something = like that) will fondly remember the days when we could sit down and rattle off the Widor effortlessly. It's not a very difficult piece. The first and second movements are far harder - but the symphony does work best as a whole, when played on a symphonic organ. (Incidentally, I was reading an article in the Diapason about a builder who claimed to be building = symphonic organs. Shades of Hope Jones, I thought, reading on. Never having visited the US of A I have never heard or played any of this builders instruments, and the proof of the pudding is in the eating, but the specifications look like "Wurlitzer and Water" and more water than wurlitzer.) Back to Widor, = or at least the ability to play it. I got the Dupre Variations on a Noel from London a couple of weeks ago, a piece which was comfortably in my = repertoire in my student days. I got so frustrated trying to play it, particularly = the fugue and toccata at the end, that I sank a whole bottle of Nemea = (Bordeaux "Oscar" winning gold cup variety!). However, I have started working it again, and the answer lies in splitting it up into phrases, working out = hand positions, fingering and rhythm and then working on it using repetition. = The same technique would work, I'm sure, for the Widor, which is much less demanding and responds well to repetition of short phrases. Divide it into sections of, say, two bars at a time, go through the right hand, the left hand and then add the pedals. Now the pedal part is NOT difficult! OK, you need to co-ordinate it with the manuals, but, provided you can find top F = on the pedal board (and it does exist) away you go. Start the day with "Good Morning Fingers" - the John Foss instant answer to scales! I have devised = a very simple little system of exercises to wake each finger up in the morning, and including playing all the major and minor scales and a few Hanon exercises + ankle exercises on the pedals. I have done this ever = since Ralph Downes said to me "John, I don't think you can play the scale of C major." Alas, he was right! He told me to learn all the scales (on the piano) by the following lesson and buy the Dupre organ method. I did what = he said - he knew what he was talking about - and I have found this the best way of getting your fingers to work. Don't play the whole piece through = from the beginning to the end! This kills it. Work on it slowly and carefully - make sure you count the beats - two classes of musician count! Bginners = and Professionals! John Foss from the Home of the Gods. www.johnfoss.gr Featured site : November 2002 American Guild of Organists on Line http://www.pipe-organs.com/agonline    
(back) Subject: Re: Widor Toccata From: <Gfc234@aol.com> Date: Mon, 11 Nov 2002 03:07:29 EST     --part1_1c5.163a46b.2b00bf41_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   oooooooh, i'm learning the fantasie and fugue in g minor now! they say = that fugue is based on a dutch folk song. i have been searching for the folk = song that it is based on. any clue? i am guessing that many of the 16th notes = in the subject are embellishments on the original theme-maybe it goes in 8th notes d Bb a g--f Eb d c just a guess--but wow-it is my favorite bach fugue! i heard it butchered = in a concert tonight-i will not give a name. the prelude was played on the hauptwerk plenum with NO PEDAL REED-then started the fugue on the swell 8-4-2-flutes with a plein jeu and switched to the great for the last few measures of the piece--yuck. it is a principal chorus and pedal reed type =   fugue-as most bach fugues are. i strongly recommend hearing david = schrader play it-it is the benchmark recording. i can't stand people who rely on = sily registrations for drama on bach that was written for the grandeur of the plenum with pedal reeds. i am such a snob... Gregory   --part1_1c5.163a46b.2b00bf41_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>oooooooh, i'm learning = the fantasie and fugue in g minor now! &nbsp;they say that fugue is based = on a dutch folk song. &nbsp;i have been searching for the folk song that = it is based on. &nbsp;any clue? i am guessing that many of the 16th notes = in the subject are embellishments on the original theme-maybe it goes in = 8th notes d Bb a g--f Eb d c <BR>just a guess--but wow-it is my favorite bach fugue! &nbsp;i heard it = butchered in a concert tonight-i will not give a name. &nbsp;the prelude = was played on the hauptwerk plenum with NO PEDAL REED-then started the = fugue on the swell 8-4-2-flutes with a plein jeu and switched to the great = for the last few measures of the piece--yuck. &nbsp;it is a principal = chorus and pedal reed type fugue-as most bach fugues are. &nbsp;i strongly = recommend hearing david schrader play it-it is the benchmark recording. = &nbsp;i can't stand people who rely on sily registrations for drama on = bach that was written for the grandeur of the plenum with pedal reeds. = &nbsp;i am such a snob... <BR>Gregory</FONT></HTML>   --part1_1c5.163a46b.2b00bf41_boundary--  
(back) Subject: Re: Widor Toccata From: "Roger Brown" <roger2@rogerbrown.no-ip.org> Date: Mon, 11 Nov 2002 19:21:51 +1100   Dennis Goward> Why are you wasting your great talent on a church? You = don't seem to have Dennis Goward> much love for the people. Perhaps you should go where you = will be Dennis Goward> appreciated. It would be better for you AND them.   Maybe he had the (odd) idea that if he gave his best to the service and to the prelude and postlude, people might perhaps respect that. Dumb idea I know - although there are places where .....   C'mon Dennis - we've all felt that way at times - we wouldn't be musicians if we didn't take a pride in what we do and not want it spoilt.   Greg - don't give up on the *real* music - just see if you can find ways to communicate what you are doing and why to people and to the clergy.   And for the record, the Widor is my (hackneyed) Christmas Eve Midnight Mass thing - and it always gets a round of applause. Such a nice way to start Christmas Day! Hey it's not the Wedge so far as musical content is concerned but for a big festive noise - that's the piece (or one of them anyway).   -- Regards, Roger   Roger Brown roger2@rogerbrown.no-ip.org http://rogerbrown.tripod.com http://member.melbpc.org.au/~robrown/    
(back) Subject: RE: Bach- quirky registration From: <cmys13085@blueyonder.co.uk> Date: Mon, 11 Nov 2002 08:28:16 -0000   Hello,   It's amazing what people do to Bach.....I believe that Bach used simple = registrations and stuck to them in the big works.   However, I make one exception...the Prelude and Fugue in A minor.   To enormous dramatic effect, I sometimes start with 8ft and 2ft flutes = for the opening of the Prelude. I have full Pedal and Full Pleno waiting in reserve. When the extended = "pedal point" on A crashes in of full Pedal, I switch to the full manual = pleno for those wonderful manual flourishes.   I don't know why, but it works brilliantly without, in any way, = detracting from Bach's intentions.   Regards, Colin Mitchell UK       -----Original Message----- From:=20 "Gfc234@aol.com" <Gfc234@aol.com>=20   I can't stand people who rely on sily registrations for drama on bach that was written for the grandeur of the plenum with pedal reeds. i am such a snob...=20 Gregory