PipeChat Digest #3625 - Friday, April 25, 2003
Felix Hell in Baltimore April 27. Change of Program
  by <Hell-Concerts@t-online.de>
Felix Hell in Rochester, MN. April 25
  by <Hell-Concerts@t-online.de>
St George's, Headstone, Harrow
  by "John Foss" <harfo32@hotmail.com>
Re: St George's, Headstone, Harrow
  by "Alan Freed" <acfreed0904@earthlink.net>
Felix Hell in Springfield, MA - 3-6-03
  by "Malcolm Wechsler" <manderusa@earthlink.net>
Fw:      Lampert must go
  by "Antoni Scott" <ascott@ptd.net>
Re: St George's, Headstone, Harrow
  by "John L. Speller" <jlspeller@mindspring.com>
ADMIN: Re: Fw:      Lampert must go
  by "Tim Bovard" <tmbovard@earthlink.net>
Re: Fw:      Lampert must go
  by "Administrator" <admin@pipechat.org>

(back) Subject: Felix Hell in Baltimore April 27. Change of Program From: <Hell-Concerts@t-online.de> Date: Thu, 24 Apr 2003 13:19:28 +0200 (CEST)   Dear listmembers,   Bruce Eicher and Jack Clotworthy had kindly published the suggested program. After some discussion about it, from various points of view, the program was changed.   Here is the final version:   J.S.Bach - Prelude and Fugue D Major, BWV 532 - "O Mensch bewein dein Suende gross", BWV 622   Franz Liszt Prelude and Fugue on B-A-C-H Josef Gabriel Rheinberger "Abendfiede" from op. 156 Felix Alexandre Guilmant Sonata Nr. 1 D Minor - Introduction et Allegro - Pastorale - Final   INTERMISSION   Marcel Dupre Prelude and Fugue B Major Samuel Barber Adagio for Strings (arr. W. Strickland)   Franz Liszt Fantasy and Fugue on "Ad nos ad salutarem undam"   Location: Grace United Methodist Church, Baltimore Date: April 27, 2003 Time: 4 pm Hans-Friedrich Hell  
(back) Subject: Felix Hell in Rochester, MN. April 25 From: <Hell-Concerts@t-online.de> Date: Thu, 24 Apr 2003 13:36:33 +0200 (CEST)   Dear listmembers,   Felix Hell will perform a recital tomorrow, Friday, April 25, in Rochester, MN.   Location: The Church of St. John the Evangelist (RC) Date: April 25 Time: 7:30 pm Organ: 4 manual Rieger Kloss tracker, op. 3721 (built 2002)   PROGRAM J.S.Bach - Prelude and Fugue Eb Major, op. 552 - "Schmuecke dich o liebe Seele", BWV 625   Felix Mendelssohn Sonata No. 3 A Major - Con moto maestoso - Andante tranquillo   Franz Liszt Prelude and Fuge on B-A-C-H INTERMISSION   Marcel Dupre Prelude and Fugue B Major Cesar Franck Choral No. 2 B Minor Felix Alexandre Guilmant Sonata No. 1 D Minor - Introduction et Allegro - Final - Pastorale   Hans-Friedrich Hell  
(back) Subject: St George's, Headstone, Harrow From: "John Foss" <harfo32@hotmail.com> Date: Thu, 24 Apr 2003 19:31:57 +0000   Seeing Quentin Bellamy's notice of the one day meeting arranged by BIOS at =   St George's, Headstone, Harrow brought memories of my misspent youth flooding back. Fredk. Rothwell & Sons Ltd had a workshop behind the = Granada, Harrow, and were the builders of several organs in our neighbourhood - my first school was Orley Farm, and later I moved up the hill to Harrow where = I never did a stroke of work, but spent my hours playing the school organs - =   which must be pretty familiar to the list members by now ! (Harrison, = Walker and Lewis) I'll try to avoid being boring on the topic. I also whiled away =   the hours designing organs with at least seven manuals and 8 diapasons on each, as well as writing indiscriminately to organists at establishments = as diverse as The Royal Festival Hall, Westminster Abbey, The Odeon, = Leicester Square and so on. From time to time I would call in on Mr Rothwell, who always had time to spare for an enthusiastic schoolboy, and I must have played all his instruments in the district. The first organ I was banned from playing was Stanmore Parish Church, for my unrivalled performance of the No.1 in the hit parade in 1955, The Garden of Eden as sung by Frankie Vaughan. Nowadays I doubt that it would even raise an eyebrow! He was a fine craftsman, and in his own quiet way, quite an innovator. The =   stops were placed between the keyboards, and there were usually general pistons from 0 to 5 which duplicated the individual pistons for each department. He had no truck with balanced swell pedals - French organists would feel at home - and his pipework was warmly voiced with a clear = ringing sound. I don't think, however, he was that keen on anything over 4' - = though this may be a bit unfair! Certainly St George's Headstone is a fine instrument. I played one Sunday morning after the service about 45 years = ago .. Having pressed the full organ piston to see how much noise it would = make I recollect the organist (I forget his name now, I'm afraid) saying it was =   more common to start at the Celestes and work upwards. Another notable quality of his intruments was the scaling of the pedal Open Wood, the ones = I experienced being narrower than usual and giving a clearer and more useful =   sound than the big boom prevalent of the period. They were of a "Violone" = or "Geigen" character. His reeds are usually fairly light in quality, capping =   rather than swamping the chorus. His best known organs, apart from St George's, were St George's Chapel, Windsor and St James' Piccadilly. There =   was also an interesting instrument at St Botolph's, Bishopsgate which may still be there. Perhaps the craftsman organ builder of this type is the true hope for the industry. Big names tend to rise and fall, as history has shown, for over =   expansion leads to high overheads and rarely do firms survive the passing = of a founding genius. This is not always the case - certainly Harrison, = Walker and Hill are amongst those who continued to build fine instruments after their founder passed on, but small can be beautiful. Unfortunately it is the end of term here in Greece and the exam season is = in full swing, so I cannot get away, but,if I were able to,I would be at St George's like a shot. Incidentally, the instrument has a BIOS historical organs certificate and a Choir Tuba from St Peter's, Harrow which I personally revoiced at the age of 13, so my guess is that it is pretty terrible unless some serious work has been done on it. (St Peter's had an interesting organ - a nice victorian church, now closed, with an organ by Foskett to the right above the chancel. I don't think it was a historic instrument, but I spent many happy hours playing there.) This is a highly recommended occasion which includes a recital by Roger Fisher, and I am = sure it will be a very worthwhile day.   BIOS Study Day and Organ Recital on the historic Rothwell Organ at St George's Headstone, Harrow (Recital in the afternoon). Introduction & Passacaglia, Walter G. Alcock Chorale Prelude: "Herr Jesu Christ" (BWV655) J.S.Bach Prelude & Fugue in A minor (BWV 543) J.S.Bach Lament (Opus 10) Harvey Grace Sonata in C minor on the 94th Psalm, Julius Reubke Details from David Knight david.knight@smvl.org.uk John Foss www.johnfoss.gr         www.johnfoss.gr         _________________________________________________________________ Tired of spam? Get advanced junk mail protection with MSN 8. http://join.msn.com/?page=3Dfeatures/junkmail    
(back) Subject: Re: St George's, Headstone, Harrow From: "Alan Freed" <acfreed0904@earthlink.net> Date: Thu, 24 Apr 2003 18:46:06 -0400   On 4/24/03 3:31 PM, "John Foss" <harfo32@hotmail.com> wrote:   > St George's, Headstone, Harrow brought memories of my misspent youth > flooding back.     I certainly hope that SOMEbody is archiving memories like these. Somebody in the UK, ideally, I suppose. They should not be lost.   Alan (loving the reading thereof)    
(back) Subject: Felix Hell in Springfield, MA - 3-6-03 From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Thu, 24 Apr 2003 19:54:06 -0400   FELIX HELL - OLD FIRST CHURCH, SPRINGFIELD, MA 3/6/03   Dear Lists and Friends,   I really try to get to hear Felix Hell whenever he is playing within a reasonable distance of my home, or my church, if it happens to be a = Sunday. Sometimes, the distance need not even be reasonable! Nor does it matter if = I am hearing him play repertoire I have heard him play before. Somehow, he makes everything fresh and new. And then, there are the Organs he is playing, these adding a quite new dimension to each his program.   On this occasion, he was playing Aeolian-Skinner Opus 1326, installed in 1958, and according to Kinzey & Lawn, "reworked" in 1963. (Allen Kinzey = and Sand Lawn, E.M. Skinner/Aeolian-Skinner Opus List, published by the Organ Historical Society in 1992.) This instrument followed E. M. Skinner Opus 209, installed in 1913, itself having replaced a Steere Organ of 1881 - retaining the case. In 1972, tonal changes were made to the 1958 = instrument by the Berkshire Organ Company. At some point, a new case was provided, in the style of the Mormon Tabernacle, if rather smaller in scale. Having = heard the Organ in a very full program, one has questions, the answers to which might explain its present sound. Did Skinner Opus 209 retain any of the Steere that preceded it. Then, did Aeolian-Skinner Opus 1326 retain = anything of either? What was done in the 1963 "reworking?" And last but certainly = not least, what did Berkshire do in the way of tonal alterations? All is not entirely well. There are wonderful sounds - Flutes and Strings, and Principals (oops, Prinzipals) too - and you can be sure that in his usual manner, Felix found them all, and used them well. It was when the full = force of the Organ was called for that things got less than pleasant. The Mixtures, very sharp and loud, took over everything, and not, I have to = say, in a pleasing way. The Swell Reeds were little more than gnats in a box, = so in brilliant passages, they were not much help, and the Mixtures had to = take over to provide the power and brilliance. Felix really made wonderful use = of the fundamental sounds, and he really tried to find as much comfort for us in the pews as he possibly could. I asked him if it was impossible to = build big plena without the Mixtures, and he said that without them, there is = just not enough excitement. One could neither live with nor without those Mixtures. In any case, he played wonderfully well the following program:   The grand G Minor Fantasy & Fugue of Bach is a great way to begin a = program, and Felix often does this. The beginning is massive and grand, and then = the Fugue is a contrasting cheerful dance movement, and taken together, they establish without any doubt the credentials of the player and also show = off the Organ in more than one style and at more than one level of volume. = Felix 's power is not in doubt, but the Organ really, at least to me, was really painful in the Fantasy, mostly due to the Mixtures standing stratospherically high above everything else, with their upper ends really chattering away with tuning difficulties. The Fugue was a happy relief, begun gently and at a gentle pace. The excitement built to the end, and = the piece was followed by powerful and long applause.   I have written before that I think the Bach ornamented choral preludes and Felix Hell belong together. No change. <O Mensch bewein> was deeply felt = in a way that reached out to all of us in the audience. Flute Cornet with Tremulant served the cantus, with a lovely gentle accompaniment. Here, the Organ was at its best.   Felix is a very experienced player of the Guilmant First Sonata - having played it in various parts of the country, and once in its incarnation as the First Symphony with orchestra, with Boris Brott and his orchestra in Ontario. Throughout, tempi appeared to be just right, from a player who = has complete security with the entire scope of this long work. There were moments when one wanted to indulge in bowling, with the pipes of the Mixtures as the bowling pins, but the piece is full of registrational variety, so relief was always just around the corner, and the more gentle bits were truly lovely. The last movement is fantastic as a magnificent, exciting, show of the greatest possible virtuosity. At the end, people whooped and hollered!   INTERMISSION   Prelude and Fugue in B Major, Marcel Dupre. This is my first time hearing Felix playing this sometimes terrifying work. I love this piece, and it = was great to hear it. I did have a feeling that perhaps the Prelude sounded = just a bit frantic, less than totally under control, only a very slight = feeling. He launched into that most remarkable of fugue subjects with comfort and assurance.   Recently, Felix has added to his repertoire the William Strickland transcription of the Samuel Barber Adagio for Strings. From looking at the stoplist of this instrument, he had every reason to think it would work really well. Somehow, however, the atmosphere was wrong. An overabundance = of Chiff had a lot to do with the problem.   Fantasy & Fugue on "Ad Nos Ad Salutarem Undam," Franz Liszt. Again this time, I feared those Mixtures, but once again, as with the Guilmant, there were many moments of relief! The Fugue was simply fabulous, and the = clarity of the instrument was useful in this movement. A great upright ovation = went on at some length, and Felix vouchsafed us one of his familiar encores, = the Finale of the Vierne First Symphony.   It pains me to have been less than positive about this Organ, with a = largely splendid pedigree, and it would seem that the troubles likely occurred in the "tonal alterations" of 1972. To be fair, it is important to point out that it is certain that the church's concert series has a very strong following, both in terms of the large crowd in evidence at this recital, = but also in the very long list of those who have given financial support for = the series. Possibly others are not bothered as much as I by the high pitched and loud mixtures. Felix's recital was very enthusiastically received, and the line to talk with him after was very long - I think he signed many CDs that night, and was chatting with people for a very long time.   Cheers,   Malcolm Wechsler www.mander-organs.com      
(back) Subject: Fw: Lampert must go From: "Antoni Scott" <ascott@ptd.net> Date: Thu, 24 Apr 2003 20:15:11 -0400   To the List:   Lampert must go !!! Don't be stupid !!!! I remember when Gluck was dropped from the list, for a while, because of some inapproprate remarks. = At least he had the intestinal fortitude to voice his opinion. I may not = agree with either of their opinions at some times, but they should have the = right to voice them without the threat of being dropped from the list. The list = is a wonderful opportunity to share an incredible amount of information.   I have been dropped from this list and other lists for the same reasons. Freedom of speech is a wonderful right in a country that allows freedom of speech. The delete button is a useful tool on a computer for those that disagree with inapropriate remarks.   To get back on the list I had to beg for mercy, it was worth it.   Antoni               ----- Original Message ----- From: "David Lee Woolsey" <Wolfeye1975@aol.com> To: <PIPORG-L@listserv.albany.edu> Sent: Thursday, April 24, 2003 6:28 PM Subject: Lampert must go     > In a message dated 4/24/2003 5:06:38 PM Eastern Daylight Time, > jamesl@hb.quik.com writes: > > > Then again, back when Mauceri did the Saint-Saens Third some years = ago, > > I always wondered why he hauled in something never seen before or = since > > (and not especially pleasant-sounding or realistic) instead of what = the > > Philharmonic already had, and hired some twit nobody'd heard of to = play > > it, instead of borrowing Zita from the Philharmonic > > Fellow Listers, > > I'm normally a "lurker", just taking in the threads and sometimes = learning a > great deal. For years now, we have all had our mailboxes full of the > "professional dilletante's" verbose, inflamatory, and inane commentary. He > adds nothing useful to discussions, and by reading his many postings it = is > obvious his rantings are less than informed. Can we all lobby the listowners > to set Maestro (I loved doing that) Lampert to NO POST? We can talk = about > things that matter, and keep our mailboxes empty of meaningless drivel. > > Now James, I am a salesman for a digital and a pipe organ company. In > college, I learned on Fisks and Flentrops. Most of us on the list who = are > practicing and practical musicians learn to accept that the tools at our > disposal are at times less than perfect. We also learn to make great music > with what we have. I have heard astounding music from many digital organs. > I have heard a Flentrop played poorly. To me the instruments aren't nearly > so much in question as is the musicality of the individual playing. For one, > I've had enough of this tracker "moisture slumber." Your attacks on > instruments and individuals cross the line in my opinion. > > Listers, accept my apology for this off-topic post. > > David Woolsey > > :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: > Note: opinions expressed on PIPORG-L are those of the individual con- > tributors and not necessarily those of the list owners nor of the Uni- > versity at Albany. For a brief summary of list commands, send mail to > listserv@listserv.albany.edu saying GET LSVCMMDS.TXT or see the web > page at http://www.albany.edu/piporg-l/lsvcmmds.html . > :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: >    
(back) Subject: Re: St George's, Headstone, Harrow From: "John L. Speller" <jlspeller@mindspring.com> Date: Thu, 24 Apr 2003 19:51:37 -0500     ----- Original Message ----- From: "John Foss" <harfo32@hotmail.com> To: <pipechat@pipechat.org> Sent: Thursday, April 24, 2003 2:31 PM Subject: St George's, Headstone, Harrow     > Seeing Quentin Bellamy's notice of the one day meeting arranged by BIOS = at > St George's, Headstone, Harrow brought memories of my misspent youth > flooding back. Fredk. Rothwell & Sons Ltd had a workshop behind the Granada, > Harrow,   I recall a very fine three-manual Rothwell organ at St. Paul's Parish & University Church, Clifton, Bristol, where thirty years ago I used to practise and was also a tenor in the choir during my student days at = Bristol University. The voicing was meticulous and refined and as I remember it = the instrument sounded wonderful, although the tubular pneumatic action was rapidly failing. The instrument had the distinctive Rothwell console with miniature stop tabs between each manual; this was very easy to operate, = but it was also possible to knock stops on and (especially) off by mistake = while playing, as I sometimes found to my cost. I was one of an organ committee set up by the P.C.C. to advise on what to do about the instrument. The = cost of restoration was more than the church felt able to spend, so we were = told to get bids on what could be done for the (then substantial) sum of = =A320,000. The committee recommended having the instrument rebuilt by Daniel of Clevedon placing electric action magnets under the toeholes of the = existing soundboards, and also revising the specification to get rid of a lot of = the fundamental stops and introduce a lot of screechy new upperwork. This is what, in fact, they did. I wrote a minority report suggesting they should use the money to build a small temporary organ and leave the main organ untouched until such time as they could save up the money to restore it properly. Today, of course, the instrument as rebuilt is completely out = of fashion, and the original would have been just what one would want to = build today. While this to a degree makes me feel self-righteous, I still feel very sad that an outstanding instrument is no more.   John Speller    
(back) Subject: ADMIN: Re: Fw: Lampert must go From: "Tim Bovard" <tmbovard@earthlink.net> Date: Thu, 24 Apr 2003 19:54:23 -0500   Dear Pipechatters,   Obviously, Mr. Scott's post by this subject was erroneously = cross-forwarded to Pipechat, since the person being discussed is not a member of Pipechat at all.   I am certain that Mr. Scott realizes that your Pipechat Administrators frown upon blind cross-posting, as well as onlist discussions of fellow listmembers, and failure to edit extraneous text from forwarded messages. And, I'm sure he realizes the proper means of raising his concerns about any odd administrative matter, by privately emailing the Administrators at <admin@pipechat.org>.   Therefore, I'd like to request that this thread cease immediately, without =   further public discussion of this entirely off-topic subject.   Thank you all, and now back to our normal Pipechatting!   Cheers!   Tim Bovard Pipechat Co-Administrator <admin@pipechat.org> <tmbovard@earthlink.net>    
(back) Subject: Re: Fw: Lampert must go From: "Administrator" <admin@pipechat.org> Date: Thu, 24 Apr 2003 19:54:44 -0500   Tony   WHY, Oh WHY did you feel that you had to send this to the PipeChat list when it only refers to the PIPORG-L list?? You have done this before but in this case the people on PipeChat who aren't on PIPORG-L will have absolutely no idea of what all of this refers to. This is an example of bad cross-posting at its worse! Please refrain from doing it again.   David   -- **************************************** David Scribner Owner / Co-Administrator PipeChat   http://www.pipechat.org mailto:admin@pipechat.org