PipeChat Digest #3235 - Sunday, November 17, 2002
 
Joyce Jones to play and teach in Miami on the new Ruffatti
  by <DarrylbytheSea@aol.com>
Re: Proper execution of Widor Toccata from the 5th - authenticity???
  by "Ross & Lynda Wards" <TheShieling@xtra.co.nz>
Lunenburg  NS Update
  by "danielwh1" <danielwh1@ns.sympatico.ca>
Authenticity? Pass the decanter and a cold compress
  by <cmys13085@blueyonder.co.uk>
Hook & Hastings Opus Numbers
  by "First Christian Church of Casey, IL" <kzrev@rr1.net>
Sorry about that...
  by "Marika E. Buchberger, LRPS" <marika57@optonline.net>
Re: Authenticity? Pass the decanter and a cold compress - or whatever
  by "Ross & Lynda Wards" <TheShieling@xtra.co.nz>
 

(back) Subject: Joyce Jones to play and teach in Miami on the new Ruffatti From: <DarrylbytheSea@aol.com> Date: Sun, 17 Nov 2002 15:16:24 EST     --part1_74.26737f88.2b095318_boundary Content-Type: text/plain; charset=3D"UTF-8" Content-Transfer-Encoding: quoted-printable Content-Language: en     Hi, Y'all!   I'm not sure this announcement has made the rounds of the two lists, but = in=3D20 case you haven't heard of the new and very wonderful Ruffatti of the=3D20 extravagantly beautiful Church of the Epiphany in Miami, here is the=3D20 announcement from Patrick Quickly, newly hired Directof of Music.   Darryl by the Sea   ---------------------------------------------------------------------------= -=3D --   -----------------------------------------   Dear All,   Would just like to invite y=3DE2=3D80=3D99all to the following = concert.=3DC2=3DA0 Whil=3D e I have met=3D20 some of you, I look forward to meeting many more on November 24th!   Sincerely,   Patrick Dupre Quigley   Director of Music/Organist   The Church of the Epiphany   =3DC2=3DA0   THE CHURCH OF THE EPIPHANY PRESENTS   Dr. Joyce Jones   Joyce Oliver Bowden Professor of Music   Organist in Residence at Baylor University   IN CONCERT TO DEDICATE EPIPHANY=3DE2=3D80=3D99S=3D20   NEW RUFFATTI ORGAN (TAO DEC =3DE2=3D80=3D9902)   November 24th, 2002, 3:00 p.m.   The Church of the Epiphany   8235 SW 57th Ave   Miami, FL=3DC2=3DA0 33143   Admission is Free and open to the public.   Contact: = =3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2= =3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3D20=3D Patrick Dupre Quigley   =3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2= =3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0 =3DC2=3DA0=3D =3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2= =3DA0=3DC2=3DA0=3DC2=3DA0 Patrick.Quigley=3D @aya.yale.edu   (305) 667-4911   FOR IMMEDIATE RELEASE.=3DC2=3DA0 The Church of the Epiphany announces an = organ c=3D oncert=3D20 at 3:00 p.m. on November 24, 2002, featuring the internationally = renowned=3D20 organist Dr. Joyce Jones to dedicate the Church=3DE2=3D80=3D99s new = Ruffatti Organ=3D ..=3DC2=3DA0=3D20   Dr. Jones is an exciting organ virtuoso whose superb musicianship, = phenomena=3D l=3D20 technique, and great personal charm make her a favorite with audiences = aroun=3D d=3D20 the world.=3DC2=3DA0 She is the Joyce Oliver Bowden Professor of Music and = Organ=3D ist in=3D20 Residence at Baylor University.=3DC2=3DA0 She is the holder of four earned = degre=3D es,=3D20 including the doctorate in organ performance, and she was the only = woman=3D20 chosen to play at the opening gala of the San Francisco = Symphony=3DE2=3D80=3D99s n=3D ew organ=3D20 in Davies Symphony Hall.   The Church of the Epiphany=3DE2=3D80=3D99s new sanctuary, already = considered to be=3D one of=3D20 the major architectural triumphs of South Florida, was consecrated this = year=3D =3D20 in March.=3DC2=3DA0 This dedication concert marks not only the creation of = a=3D20 world-class instrument for South Florida, but also the inauguration = of=3D20 Epiphany=3DE2=3D80=3D99s Concert Series, meant to bring vibrant, = professional qual=3D ity music=3D20 to Miami and South Florida. =3DC2=3DA0According to Msgr. Jude = O=3DE2=3D80=3D99Doherty,=3D Pastor of the=3D20 Church of the Epiphany, =3DE2=3D80=3D9CA space such as ours cries out for = the grea=3D test=3D20 music in the world, and we here at Epiphany hear that call.=3DC2=3DA0 We = wish to=3D make=3D20 The Church of the Epiphany a place for great performances.=3DE2=3D80=3D9D   The concert will be held at 3:00 on November 24th, 2002, in the Church of = th=3D e=3D20 Epiphany.=3DC2=3DA0 The concert is free and open to the public.=3DC2=3DA0 = The Church=3D of the=3D20 Epiphany is located at 8235 SW 57th Ave.=3DC2=3DA0 For more information, = contact=3D =3D20 Patrick Quigley at 305-667-4911.       --part1_74.26737f88.2b095318_boundary Content-Type: text/html; charset=3D"UTF-8" Content-Transfer-Encoding: quoted-printable Content-Language: en   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2 = FAMILY=3D3D"SANSSERIF" FACE=3D =3D3D"Arial" LANG=3D3D"0"><BR> Hi, Y'all!<BR> <BR> I'm not sure this announcement has made the rounds of the two lists, but = in=3D20=3D case you haven't heard of the new and very wonderful Ruffatti of the = extrava=3D gantly beautiful Church of the Epiphany in Miami, here is the announcement = f=3D rom Patrick Quickly, newly hired Directof of Music.<BR> <BR> Darryl by the Sea<BR> <BR> ----------------------------------------------------------------------------=3D -------------------------------------------<BR> <BR> Dear All,<BR> <BR> Would just like to invite y=3DE2=3D80=3D99all to the following = concert.=3DC2=3DA0 Whil=3D e I have met some of you, I look forward to meeting many more on November = 24=3D th!<BR> <BR> Sincerely,<BR> <BR> Patrick Dupre Quigley<BR> <BR> Director of Music/Organist<BR> <BR> The Church of the Epiphany<BR> <BR> </FONT><FONT COLOR=3D3D"#000000" style=3D3D"BACKGROUND-COLOR: #ffffff" = SIZE=3D3D3=3D FAMILY=3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0">=3DC2=3DA0<BR> <BR> <B>THE CHURCH OF THE EPIPHANY PRESENTS</B><BR> <BR> <B>Dr. Joyce Jones</B><BR> <BR> <B>Joyce Oliver Bowden Professor of Music</B><BR> <BR> <B>Organist in Residence at Baylor University</B><BR> <BR> IN CONCERT TO DEDICATE EPIPHANY=3DE2=3D80=3D99S <BR> <BR> NEW RUFFATTI ORGAN (TAO DEC =3DE2=3D80=3D9902)<BR> <BR> November 24th, 2002, 3:00 p.m.<BR> <BR> The Church of the Epiphany<BR> <BR> 8235 SW 57th Ave<BR> <BR> Miami, FL=3DC2=3DA0 33143<BR> <BR> Admission is Free and open to the public.<BR> <BR> Contact: = =3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2= =3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3D20=3D Patrick Dupre Quigley<BR> <BR> =3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2= =3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0 =3DC2=3DA0=3D =3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2= =3DA0=3DC2=3DA0=3DC2=3DA0 Patrick.Quigley=3D @aya.yale.edu<BR> <BR> (305) 667-4911<BR> <BR> <B>FOR IMMEDIATE RELEASE.=3DC2=3DA0 </B>The Church of the Epiphany = announces an=3D20=3D organ concert at 3:00 p.m. on November 24, 2002, featuring the = international=3D ly renowned organist Dr. Joyce Jones to dedicate the = Church=3DE2=3D80=3D99s new Ru=3D ffatti Organ.=3DC2=3DA0 <BR> <BR> Dr. Jones is an exciting organ virtuoso whose superb musicianship, = phenomena=3D l technique, and great personal charm make her a favorite with audiences = aro=3D und the world.=3DC2=3DA0 She is the Joyce Oliver Bowden Professor of Music = and O=3D rganist in Residence at Baylor University.=3DC2=3DA0 She is the holder of = four e=3D arned degrees, including the doctorate in organ performance, and she was = the=3D only woman chosen to play at the opening gala of the San Francisco = Symphony=3D =3DE2=3D80=3D99s new organ in Davies Symphony Hall.<BR> <BR> The Church of the Epiphany=3DE2=3D80=3D99s new sanctuary, already = considered to be=3D one of the major architectural triumphs of South Florida, was consecrated = t=3D his year in March.=3DC2=3DA0 This dedication concert marks not only the = creation=3D of a world-class instrument for South Florida, but also the inauguration = of=3D Epiphany=3DE2=3D80=3D99s Concert Series, meant to bring vibrant, = professional qua=3D lity music to Miami and South Florida. =3DC2=3DA0According to Msgr. Jude = O=3DE2=3D =3D80=3D99Doherty, Pastor of the Church of the Epiphany, =3DE2=3D80=3D9CA = space such a=3D s ours cries out for the greatest music in the world, and we here at = Epiphan=3D y hear that call.=3DC2=3DA0 We wish to make The Church of the Epiphany a = place f=3D or great performances.=3DE2=3D80=3D9D<BR> <BR> The concert will be held at 3:00 on November 24th, 2002, in the Church of = th=3D e Epiphany.=3DC2=3DA0 The concert is free and open to the = public.=3DC2=3DA0 The Chur=3D ch of the Epiphany is located at 8235 SW 57th Ave.=3DC2=3DA0 For more = informatio=3D n, contact Patrick Quigley at 305-667-4911.<BR> <BR> <BR> </FONT></HTML> --part1_74.26737f88.2b095318_boundary--  
(back) Subject: Re: Proper execution of Widor Toccata from the 5th - authenticity??? From: "Ross & Lynda Wards" <TheShieling@xtra.co.nz> Date: Mon, 18 Nov 2002 11:15:02 +1300   Surely different ways to enjoy things are permissible without the authenticity police coming to get us and dispose of us? You make it sound = as if it's wrong to use the heels when pedalling Bach, or to enjoy Biggs's playing of it.   Historical authenticity is one thing. Trying to ban anything else is ridiculous (I'm not accusing you of that, but some people try). Let me use an example I've used somewhere already. I enjoy performances of "Messiah" done with a dozen voices, the accompaniment being with a tiny group of musicians and so on, with the vocal solos full of turns and ornaments. = Yes, great. But I also enjoy, and I don't care at all if this makes me out to = be an outrageous peasant, a choral society-style performance with 300-voice choir, huge orchestra and organ with 32ft Open Wood, and soloists who use creamy flowing tone with no ornaments at all. When the chorus weighs in = and flattens the hall with sheer volume of sound, I can go "WOW!!!!!!!!!!" and love it. And I feel no guilt.   Now, in architecture and theology the same thing applies, and I think is a fair analogy. I can appreciate very well a small Holy Communion service in = a house where only a dozen people are present, especially if the house is a simple dwelling such as that used at the Last Supper. But I see no = objection whatever to my also enjoying a full musical choral Communion service with great choir in a great cathedral.   To speak of "truthful" performances is to use a word that seems to attempt to conjure up guilt in other kinds of performances. I think that's odious. If music is not to be enjoyed, it is nothing. Even the most historically sensitive performance is not going to be heard by us as was originally intended, as we listen to it with 21st-century ears, not ears that have heard nothing since Bach's day, and all the music we've heard composed = since Bach's day has altered our hearing perceptions to something different from those of Bach's audience.   Sometimes, yes, we might not want to rely on stop changes and "drama", but at other times adding drama to the music can be mind-blowingly FUN, and I = do not believe that is sinful or to be outlawed.   I get just as cross with people who speak about not trying to build = eclectic organs. There is no place in most situations for this kind of precious one-upmanship. Here, I have to put up with a lousy 10-year-old electronic "organ" and that has to do for everything from Cabezon to Messiaen. Where there is a pipe organ, I'd much rather it gave a musical sound for a = variety of music than was excellent at just one thing, banning the rest to = oblivion. For example, I want to play Bach above all, but I also want to play = classic French, so I want a guttural reed, a big Cornet and a fiery Trompette. I also want to hear the great French Toccatas, so I have no objection to a pedal 16ft Trombone or somesuch (call it Bombarde if you insist). And because the organ is there in the church primarily to accompany singing, I want it to have a rich and varied Principal chorus and, I shall say it, an unenclosed Dulciana. If you say that this outlook puts me in the 1960s, I shall say, "So what?" I'm being realistic about what the organ is for, not taking what tends to come across as a "do it my way only" kind of snobbishness that doesn't allow the vast majority of people to enjoy their music. Where there is only the kind of instrument that I have described = that I have to put up with, the authenticity police would say that there is not one piece of music that may be allowed, ever, as not one piece of music = (so far as I am aware) has been written for a 1990s electronic. Or if there = is, I would not be willing to toss aside my Bach, or the congregation's appreciation of my playing it.   Sorry, Greg, I'm not specifically getting at you, but at the authenticity police generally. They destroy so much fun. My house was built in 1906: horrors!!! I have a flush toilet in it, a marble kitchen bench, an = electric stove and a TV set, not to mention the hi-fi, electric heater and telephone!!! Should I feel guilt?   To return to the actual topic. Biggs's recordings introduced me to a vast quantity of music that I wouldn't have otherwise known about, and have = loved for the last 40 years, even if (as must be the case in New Zealand) there = is not one instrument available to hear it "authentically". I'll hear no criticism of the man for that.   Ross I would never use Biggs or Fox as a definative performance of ANY = baroque music. Their registrational and interpretive devices are not in-line with any of the performance practices that have been discovered recently. Not = to say that I don't love Biggs' Bach recordings, but they are simply romanticized-full of heel pedalings, flamboyant registrations including massive cresendi and decrescendi on plenum fugues etc..... I think the key to getting truthful Bach performances is to reevaluate = how you look at the organ-look at it more like a harpsichord (an instrument whose sound can not change much). make music-don't rely on stop changes = for drama. greg.    
(back) Subject: Lunenburg NS Update From: "danielwh1" <danielwh1@ns.sympatico.ca> Date: Sun, 17 Nov 2002 18:00:56 -0400   The 10 Bell chime which survived the Disastrous fire a year ago Oct 31st = in Lunenburg Nova Scotia have been loaded up today and a Public ceremony = send off was held today. http://www.cbc.ca/stories/2002/11/16/bells_nschurch021116 news clip is available from thsi site, just choose your player to the right.The bells = are on there way to a Bell Foundry in Georgetown Ohio US for there restoration. Of all 10 of the chimes plus the 1 toling bell, 3 have to be recast because of cracks, the rest of the bells will be restored and retuned to the Original Specs. restoration will include rebuilding and replacing some componants used to hold the bells to the chime stand THis Church has a long way to go with its rebuilding. total cost of Restoration is 6.7 million. Halfway has been reached with = 3.5 million in donations, pledges, and insurance proceeds. It will take untill Next December to make the building tight.in time for at least one service to mark the Churches 250th Anniversary.Most interior work will be finished by the end of 2004 and interior detail work such as murals by 2005.   A gift shop has been setup next to the dome which covers the remains remains of the church which is being slowly reframed. The giftshop = contains T-Shirts, Pewter ornaments, posters,and kalaidascopes made using stained glass which couldnt be put back into the windows. items can be purchased = by emailing stjohnsrestoration@ns.sympatico.ca donations can also be made online at www.stjohnsrestoration.com or www.CanadaHelps.org also at www.stjohnsrestoration.com you can see progress reports and = updated pictures The Pipe Organ is yet to be decided who will build and install it, = whether new or used , still not sure, Just in the planning stages, However It Will be a Pipe Organ.     --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.406 / Virus Database: 229 - Release Date: 21/10/2002    
(back) Subject: Authenticity? Pass the decanter and a cold compress From: <cmys13085@blueyonder.co.uk> Date: Sun, 17 Nov 2002 23:41:01 -0000     Hello,   I think Ross Ward has absolutely excelled in his wonderful reply = concerning authenticity, even if he has perhaps failed to address a = vital point from the performer's point of view.   He uses theology and the "Huddersfield Choral Society" approach to = Messiah as analogies, so I will use another.   If I am a writer on historical matters concerned with Motor Racing, I = would WANT to drive a Bugatti or an Alfa Romeo P33. I could drive much = quicker in a modern family car, but to FEEL the genuine article is to = further the understanding of what was and wasn't possible to the drivers = of the day. In other words, I have greater understanding which would = enhance my reasoning.......I would be nearer to the minds of those who = were involved first hand.   When I go abroad and play instruments from the Baroque which more or = less remain as they were built, I further my UNDERSTANDING of what the = composers of the music had in mind. There were certain limitations = inherent in playing such instruments. So if I am to understand fully the = underlying drama and the "romanticism" of Bach, then I have to look = beyond playing aids, swell boxes and heavy pressure reeds. I have to = find a different way.......so my attention is drawn to phrasing, = articulation and the use of rubatti within a strict overall tempo.   Eventually, I see the wisdom of clarity, regular phrasing, meticulous = fingering, the use of very precise toe pedalling which permits very = careful phrasing of contrapuntal threads and the use of tonal rather = than dynamic contrasts.   Should anyone doubt this, I would invite them to try playing Bach's = music on a Baroque organ, but using "Romantic" stop changes and the use = of couplers. They would soon discover that the music just doesn't "LIVE" = in the way that they expect.   Let us go to the opposite extreme.....perhaps performing a Bach Trio = Sonata on a Wurlitzer Organ.   One COULD use Tibias, Voxes, Tremulants and Traps, but it could never be = a satisfactory experience for the listener. So when Carlo Curley uses a = single 8ft String on the Pedals, a very light left hand on what sounds = like a 2ft Flute and an 8ft String and a Right Hand on a Chrysoglot, he = is actually very aware of the Bach idiom and the Baroque organ. In fact, = nothing could be further away from authenticity, and yet, by = "re-arranging" the registration, he remains faithful to the clarity of = such "thin" writing. In other words, his appreciation of the Baroque = makes a good performance possible on the worst type of instrument for = this sort of music. (I LOVE WURLITZERS!)   So, perhaps it is not a matter of "authenticity", but more a matter of = "understanding" from the performance point of view. Once we get closer = to the creative mind and the creative process, we are in a stronger = position to re-interpret and re-create IN THE SPIRIT of the work and = wehat we perceive as the intentions of the composer.   I suppose it is much the same Ross, as Chrystology in theolgical = understanding. "In imitato Christo" is the most pretentious pursuit of = all.......but if it helps to get closer to UNDERSTANDING, then it serves = a useful purpose.   Anyway, time to get back to listening to my favourite recordings.   Murray Perahia on a Steinway and the Academy of St Martyin in the Fields = playing the Bach Harpsichord Concertii, and George Malcolm thrilling me = to bits as he murders Scarlatti on a Concert Goble Harpsichord.   As for Tchaikovsky's "Blight of the fumbling Bee", just pass the = decanter and place a damp towel on the forehead! I never fail to giggle = at the audacity of it!   Regards,   Colin Mitchell UK    
(back) Subject: Hook & Hastings Opus Numbers From: "First Christian Church of Casey, IL" <kzrev@rr1.net> Date: Sun, 17 Nov 2002 17:53:50 -0600   Anybody have handy the approximate years Hook & Hastings would have been building in the area of Opus 625 to Opus 650?   Thanks.   Dennis Steckley    
(back) Subject: Sorry about that... From: "Marika E. Buchberger, LRPS" <marika57@optonline.net> Date: Sun, 17 Nov 2002 19:19:59 -0500   Looks like the format is a bit of a mess. This new version of netscape 7.0 is making me a little nutz.....   Marika   -- Jungian Type: INTJ      
(back) Subject: Re: Authenticity? Pass the decanter and a cold compress - or whatever From: "Ross & Lynda Wards" <TheShieling@xtra.co.nz> Date: Mon, 18 Nov 2002 14:04:51 +1300   Thanks for yours back, Colin. I'll add comments in square brackets [ ] to get indicate they're mine. Do notice, by the way, that my surname is = "Wards" and is of Orkney origin - NEVER "Ward". :-) .. . . . I think Ross Wards has absolutely excelled in his wonderful reply = concerning authenticity, even if he has perhaps failed to address a vital point from the performer's point of view.   He uses theology and the "Huddersfield Choral Society" approach to Messiah as analogies, so I will use another.   If I am a writer on historical matters concerned with Motor Racing, I = would WANT to drive a Bugatti or an Alfa Romeo P33. I could drive much quicker = in a modern family car, but to FEEL the genuine article is to further the understanding of what was and wasn't possible to the drivers of the day. = In other words, I have greater understanding which would enhance my reasoning.......I would be nearer to the minds of those who were involved first hand.   [No argument with this whatever].   When I go abroad and play instruments from the Baroque which more or less remain as they were built, I further my UNDERSTANDING of what the = composers of the music had in mind. There were certain limitations inherent in = playing such instruments. So if I am to understand fully the underlying drama and the "romanticism" of Bach, then I have to look beyond playing aids, swell boxes and heavy pressure reeds. I have to find a different way.......so my attention is drawn to phrasing, articulation and the use of rubatti within = a strict overall tempo.   [Still no argument at all. When I play the local rotten electronic, and = also the wheezy 2m reed organ in another church in the parish (average congregation of c15) it is because I know what the music is supposed to sound like that I can make it come alive for the people there - and I get lots of nice comments - on a grossly inferior instrument.]   Eventually, I see the wisdom of clarity, regular phrasing, meticulous fingering, the use of very precise toe pedalling which permits very = careful phrasing of contrapuntal threads and the use of tonal rather than dynamic contrasts.   [Indeed. I was not suggesting at all that I play Bach on strings and reeds of the 19thC Willis type. No way. Rather, I was saying that Bach can sound very fine on an electro-pneumatic'd TCLewis, for example].   Should anyone doubt this, I would invite them to try playing Bach's music = on a Baroque organ, but using "Romantic" stop changes and the use of = couplers. They would soon discover that the music just doesn't "LIVE" in the way = that they expect.   [Whatever the instrument, even the electronic, I do not couple the Pedal down, and don't play in anything even remotely resembling a Virgil Fox style, which latter makes me cringe. To go to the sublime comparison: St Paul's London is an organ that Liszt would have been amazed at, yet Trotter's rendition of the "Ad nos" was one of the organic highlights of = my life - even with full west end coupled up to full chancel and dome = divisions and all four 32fts going. Mindblowing, even if not "authentic". I have no doubt that the organist knew what Liszt would have had in mind tonally].   Let us go to the opposite extreme.....perhaps performing a Bach Trio = Sonata on a Wurlitzer Organ.   One COULD use Tibias, Voxes, Tremulants and Traps, but it could never be a satisfactory experience for the listener. So when Carlo Curley uses a = single 8ft String on the Pedals, a very light left hand on what sounds like a 2ft Flute and an 8ft String and a Right Hand on a Chrysoglot, he is actually very aware of the Bach idiom and the Baroque organ. In fact, nothing could be further away from authenticity, and yet, by "re-arranging" the registration, he remains faithful to the clarity of such "thin" writing. = In other words, his appreciation of the Baroque makes a good performance possible on the worst type of instrument for this sort of music. (I LOVE WURLITZERS!)   [Absolutely 100% right. I've played classic French on the local 3m 16rk WurliTzer and love it. But I can only make it "work" because I've listened to many recordings of the "proper" sound of Clicquot and the like. I love WurliTzers, too, but admit happily that they are vulgar, disgusting, = obscene and all of that. Sometimes I want that kind of sound and am enough of a peasant to admit it. In the same way, I enjoy a meal of KFC, though = knowing it's not healthy stuff. I can't eat only rawfruit, broccoli and wholemeal bread, much as I love those, too and try to make them central.]   So, perhaps it is not a matter of "authenticity", but more a matter of "understanding" from the performance point of view. Once we get closer to the creative mind and the creative process, we are in a stronger position = to re-interpret and re-create IN THE SPIRIT of the work and what we perceive = as the intentions of the composer.   [Again, spot on. 100%. Collect $200 as you pass Go].   I suppose it is much the same Ross, as Christology in theological understanding. "In imitato Christo" is the most pretentious pursuit of all.......but if it helps to get closer to UNDERSTANDING, then it serves a useful purpose.   [No trouble here, either. Read the lot, from the desert fathers to Nouwen and Wm Barclay (but ignore Spong, Bultmann and the "Death of God" folk!!), but also read the New Testament itself and be yourself when in God's presence.]   Anyway, time to get back to listening to my favourite recordings.   Murray Perahia on a Steinway and the Academy of St Martin in the Fields playing the Bach Harpsichord Concerti, and George Malcolm thrilling me to bits as he murders Scarlatti on a Concert Goble Harpsichord.   [Indeed. Do you have Malcolm playing Alec Templeton, etc.?]   As for Tchaikovsky's "Blight of the fumbling Bee", just pass the decanter and place a damp towel on the forehead! I never fail to giggle at the audacity of it!   [Tchaikovsky?? Surely Rimsky-Korsakov?? That piece also has two other = names here in NZ - The Bite of the Flumble Bee The Bum of the Flightl Bee. Malcom's "Bach before the Mast", on 7" ep record, is still one of my favourite bits of music.]   [Another music example. I love Couperin played on the appropriate harpsichords, but I also like the sound of an old 12" disc I have - of someone (Fernando Valenti?) playing it on a modern high-tension = steel-frame harpsichord. I can wind up the volume and listen to the massive ringing tones that are grossly unhistorical but fun to listen to. In the same way, = I can enjoy E.Power Biggs' performances of Tchaikosky and Chopin on his big pedal harpsichord.]   [So, yes, learn the "correct" and "authentic" style and play these as well as possible with the instruments available to you, but do, at least on = some occasions, have fun with the music, as did the King's Singers and the Swingle Singers as well].   [Colin, I think we need to have some long discussions in each other's = homes, listening to a wide variety of music and enjoying much.   Ross]     Regards,   Colin Mitchell UK     "Pipe Up and Be Heard!" 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