PipeChat Digest #3431 - Wednesday, February 5, 2003
Re: more on performance practice
  by "Del Case" <dcase@puc.edu>
  by "Administrator" <admin@pipechat.org>
And I thought 15 minutes was long...
  by <Pepehomer@aol.com>
Trinity Church Wall Street X Post
  by <Cpmnhartus@aol.com>
Re: more on performance practice
  by "John Seboldt" <rohrwerk@seboldt.net>
Road trip to Casavant (VERY Long)
  by "Douglas A. Campbell" <dougcampbell@juno.com>
Re: Czech composers
  by "Jonathan Orwig" <giwro@earthlink.net>
Mothering Sunday
  by <EchoGamba@aol.com>

(back) Subject: Re: more on performance practice From: "Del Case" <dcase@puc.edu> Date: Tue, 04 Feb 2003 16:13:14 -0700   I have a real problem with the term "AUTHENTIC." I try to avoid using it because, to me, it implies one correct way of doing something.   Though the term also has problems, I prefer "Historically informed." For me, this allows a variety of approaches that must be tempered by context; instrument, room, occasion, understanding, etc., etc.   When talking about performance style to my music history classes, I frequently put on the chalkboard two intersecting lines - one horizontal, the other vertical. At one end of one I label "Historically informed," at the other end "Romanticized." On the other line one end is labeled "Musical," the other "Nonmusical." The goal is to be Historically = informed and Musical. One does not automatically provide the other. I do not want Bach to sound like Brahms. But, better to sound like Brahms than be Historically informed and Nonmusical.   About methods; it is revealing to compare the last three editions of the Gleason method and to see the very clear changes that have taken place in fingering, phrasing, articulation, etc. There are now a number of method books that present both early and 19th century approaches. And, how much easier it is to play Bach using little or no finger substitution. BUT - MUCH MORE DIFFICULT FROM THE STANDPOINT OF TOUCH FOR QUITE A WHILE. How I regret all the time I spent working out fingerings so that everything was legato and forcing my students to do the same, or copy my fingerings. (Basically Dupre.) The trick is to learn an "articulated-legato" touch that does not sound staccato or detached. Once learned, many things in the music make much more sense.     quilisma@socal.rr.com wrote: > > To turn back to music, I can remember when students slavishly followed > "The Dupre Method" or "The Walcha Method" or "The Gleason Method" for > this, that, and the other thing. Nowadays a teacher is more likely to > say "there are things to be LEARNED from the Dupre Method or the Walcha > Method or the Gleason Method; NO method is applicable in ALL > circumstances or for ALL music." > > We cannot turn back the clock. Shall we, for instance, refuse to play > Couperin on anything but a tracker-action organ in the French baroque > style? Some conservatory students may have that luxury; most of us in > the "real world" don't. I play Couperin on a 30-year old Allen 301-C > electronic ... fortunately our church has excellent acoustics. Our pipe > organ is due Easter of 2005, God willing. Shall I not play any organ > literature until it comes, on account of the "inauthentic" medium?     We have to play on what we have to play on. But, how much more = understanding one has of what to do with Couperin if one has had the experience of playing it on a good tracker with the appropriate sounds. Then one can do a much better job with it on electric action, or electronic.         Since we are in such a snit about degrees, etc., I will include mine, this time.         Dr. Del W. Case D.M.A. Professor of Music Pacific Union College  
(back) Subject: ADMINISTRATIVE - SORRY! From: "Administrator" <admin@pipechat.org> Date: Wed, 5 Feb 2003 18:06:36 -0600   For some reason last night the list server decided to start acting up and kept quitting. I had some dental work done yesterday and last night was a bit "out of it" so i didn't catch the problem until this morning. After numerous retries to get the server going before leaving for work I realized that it was time to upgrade to the new Beta version. Tonight once I came home I did download and set up the new version and hopefully there will not be any problems from here on in.   i am going to warn everyone that there "might" be a possibility of something acting "strange" with this version however, I have been running some secondary lists on this new Beta version and so far haven't had any problems with it.   If you sent a message to the list in the last 24 hours please don't resend it right away. There is a back-up mail server that will catch messages that can't make it to the list server and once that back-up server realizes that the list server is up and running again it will start to forward those messages that it is holding to the list. If you dont' see something you sent by this time tomorrow evening then by all means send it again. However, if your message bounced back to you then by all means please resend it.   Sorry for the problems and sorry I didn't catch them as soon as I should = have.   Happy PipeChatting   David -- **************************************** David Scribner Owner / Co-Administrator PipeChat   http://www.pipechat.org mailto:admin@pipechat.org  
(back) Subject: And I thought 15 minutes was long... From: <Pepehomer@aol.com> Date: Wed, 05 Feb 2003 16:10:39 -0500   John Cage has composed (or is composing?) a song for organ that will take = 639 years to finish. Apparently it has been going for 17 months now. = Should be huge for upcoming recitals...   http://news.bbc.co.uk/1/hi/entertainment/music/2728595.stm   Justin Karch Organist, Holy Trinity LCMS Rome, GA  
(back) Subject: Trinity Church Wall Street X Post From: <Cpmnhartus@aol.com> Date: Wed, 5 Feb 2003 16:10:18 EST     --part1_f8.28977c35.2b72d7ba_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Copeman Hart America P. O. Box 292 Lewes, Delaware 19958-0292   5 February 2003   Dear Listers:   I went to the Trinity Church Wall Street website where there is an = article, with a picture, about the dismantling of the Aeolian Skinner organ and the =   contract for supplying a new digital organ.   The contract went to Marshall and Ogletree of Boston, one of the two = largest Rodgers dealers in the world.   Go to: < <A = HREF=3D"www.trinitychurchwallstreet.org/congregation/article_146.shtml">www= .trinitychurchwallstreet.org/congregation/article_146.shtml</A> > for further information.   George W. Bayley   Senior U. S. Consultant     --part1_f8.28977c35.2b72d7ba_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2 = FAMILY=3D3D"SANSSERIF" FACE=3D =3D3D"Arial" LANG=3D3D"0">Copeman Hart America<BR> P. O. Box 292<BR> Lewes, Delaware 19958-0292<BR> <BR> 5 February 2003<BR> <BR> Dear Listers:<BR> <BR> I went to the Trinity Church Wall Street website where there is an = article,=3D20=3D with a picture, about the dismantling of the Aeolian Skinner organ and the = c=3D ontract for supplying a new digital organ.<BR> <BR> The contract went to Marshall and Ogletree of Boston, one of the two = largest=3D Rodgers dealers in the world.<BR> <BR> Go to: &lt; <A = HREF=3D3D"www.trinitychurchwallstreet.org/congregation/article_=3D 146.shtml">www.trinitychurchwallstreet.org/congregation/article_146.shtml</= A=3D > &gt; for further information.<BR> <BR> George W. Bayley<BR> <BR> Senior U. S. Consultant<BR> <BR> </FONT></HTML> --part1_f8.28977c35.2b72d7ba_boundary--  
(back) Subject: Re: more on performance practice From: "John Seboldt" <rohrwerk@seboldt.net> Date: Wed, 05 Feb 2003 10:46:18 -0600   At 04:29 PM 2/4/03 -0500, you wrote: >In a message dated 2/4/03 4:14:51 PM Eastern Standard Time, >chabrown@bellatlantic.net writes: > >>the fingering that Bach; or whether he used >>this registration over another holds little interest to me. I feel the >>most important part of learning a new composition is just letting the >>music speak to me. That cannot happen if one puts scholarly parameters >>on a performance. In my opinion, that is a phony performance. To me, a >>performance of integrity is one that you feel and that you can >>communicate clearly. > > >I agree with you; however, the scholarly part (i.e., the fingering, >knowledge of the organs he played/heard, temperament and voicing) help us =   >understand what he was trying to say with the music and how he (himself) >wanted to say it.   I remember a hot debate in the early days of the performance practice revival... at a lunch, one of the skeptics was saying, "The audience couldn't give a d*** if you played with the backs of your fingers." To which my simple response was, "Anything that contributes to convincing musical performance will be perceived in some way by the audience." That was born out of the sense that I was starting to get on how some of that "early fingering" really did have some bearing on musicianship - if not = too slavishly applied, as some were/are doing. On the other hand, the simple silent response to my comment was probably a sign that, yeah, OK, I guess you guys haven't made that connection yet, and maybe we won't agree on = this right now. The conversation moved on quickly to other topics...   As part of a whole picture, all that scholarly stuff is a factor. But = life and music-making goes on.   John Seboldt Milwaukee    
(back) Subject: Road trip to Casavant (VERY Long) From: "Douglas A. Campbell" <dougcampbell@juno.com> Date: Wed, 5 Feb 2003 14:40:13 -0500   A Road Trip to Casavant Freres   Last Monday (January 27th) members of the First Presbyterian Church of Skaneateles, NY travelled to St. Hyancinthe, Quebec to visit the Casavant Freres Organ factory and see our new organ. Thirteen years after our Organ Task Force first met, our new organ was to be seen for the first time. WE had originally planned on this visit for Dr. Martin Luther King day, but it was delayed a week due to a request by Casavant to "finish things up" before our arrival. About 20 people chose to make the trip and we left Skaneateles at 7 AM with the temperature just a little below ZERO ! Unfortunately, the chartered bus's heating system wasn't "quite" up to the challenge of the day's temperatures and we were just slightly chilly all the way ! But the sun came out and we all felt good despite the chill. Two hours later we were pulling into the Canadian customs house to be checked for admittance into Canada. After presenting identification ( which was checked very carefully) we were on out way across Canada towards Montreal. We stopped in Cornwall, Ontario for a coffee break and to meet several people that were joining us form the Potsdam area. One of our member's father is Arthur Frackenpohl. Arthur and five other members of his church joined us, including their organist ! Shortly after noon we arrived at the large pale green factory and the attached brick house that was once the family home of the Casavants. We did not tarry between the bus and the heated building, even though the temperature had risen to a balmy 5 degrees ! From the entrance to the building to the erection room took us only abut 2 minutes ! We wanted to SEE this organ. Casavant has two erecting rooms, our organ was in the smaller of the two, a three story room about 25 x 40 feet. A brief moment of utter disappointment met me as half of the facade pipes were missing! Some of the casework was also not in place and the console was missing many of its panels. However we were told the organ was playable and we would have an opportunity to do so after lunch. We were led to a large showroom with a large table set for lunch and enjoyed a wonderful buffet, with the President of Casavant himself pouring wine for us ! After lunch we again went to the erecting room and spent some time trying out Opus 3819. The organ is a III/40 EP. Unfortunately the missing facade pipes meant that two major ranks were not fully functioning, the GT. 8' Montre and the 16' Pedal Montre (the only open 16' flue on the organ). Of course, it was impossible to really judge how the organ will sound in our Sanctuary......the erecting room and our acoustics are wildly different ! But we could judge the overall tonal character of the instrument, and it did sound nice. All too soon we were hustled off on a tour of the factory itself -- we only had about four hours in St. Hyancinthe and lunch and playing our organ had consumed much of that ! The Casavant factory is really amazing. I have seen other organbuilder's "shops" and this was certainly very different. It was HUGE. Behind the "Brick House" was an attached building that held the two erecting rooms and an area used for packing pipework for shipment. We were led across an open walkway into the first of two large three story buildings that were the majority of the factory. First, we went down the basement of one of these building where the pipe casting table and the very large drum lathe for planing the cast metal where situated. Our guides ( we were broken up into smaller groups for the tour), explained to people what was involved in making pipe metal and casting the sheets, planing them and allowing them to "cure" for many weeks before being used. On the floor above was the metal pipe shop, a room at least 40 x 120 feet ! Covering the walls everywhere were pipe "patterns", some of a fiberboard, but most simply unrolled pipe "blanks". There must have been hundreds or even more! At one end of this shops was a large table in the middle of the room where the pipes were cut from the flat sheets of metal. Around this were dozens of benches specialized for each task of the pipe making process. Although there were only 6 or 7 workers in this shop, they obviously worked at whatever bench was designed for the specific task at hand. In the cabinet shop we saw the workers building the pieces that would become the casework of various instruments. Casavant has ALMOST as many bar clamps as Norm Abrams !!!!! We also saw the console shop where a large console was being wired, the wooden pipe shop, the chest shop, and several other areas where specific tasks were performed. Unfortunately, we didn't get to see the voicing jack, or watch as pipes were being voiced. All too soon your time was up and we darted across the parking lot trying to reduce the effects of the bone chilling wind. A brief stop in Cornwall to for a quick bite to eat and say goodbye to our new found friends from Potsdam and we were back on the road to home.. We arrived back in Skaneateles at about 10:45 PM, making this a very long, but interesting day ! On Feb. 10th, The organ will arrive in Skaneateles and the installation will start. We ARE counting the days ! I will try to post some pictures of the trip in a few days.     Douglas A. Campbell Skaneateles, NY  
(back) Subject: Re: Czech composers From: "Jonathan Orwig" <giwro@earthlink.net> Date: Wed, 5 Feb 2003 08:49:22 -0800   I have long had a fascination with Ropek's music...   Respected composers such as Messiaen have spoken highly of it, and it seems to be ver well crafted.   Eben is more difficult harmony-wise, but there is passion, fire and true genius there. Take some time to explore the music of Ropek's mentor Anton Wiedermann.... there are some fine pieces there. Alas, many still remain in manuscript...   I have also been taken by the music of Hungarian composer Zsoltan Gardonyi... neo-classical and full of fire it is one of the sadly = neglegted gems of our time... 3 organ sonatas, a masterful Partita on Veni Creator.   Cheers,   -Jonathan   ----- Original Message ----- From: "Colin Mitchell" <cmys13085@yahoo.co.uk> To: "PipeChat" <pipechat@pipechat.org> Sent: Saturday, February 01, 2003 4:20 PM Subject: Czech composers     > Hello, > > I have been digging around the net and came up with > some interesting names. > > I have not been able to totally verify the country of > origin of the following, but I think that they are all > Czech. > > The names below are just a fraction of a fairly > extensive tradition and repertoire. > > Peter Eben (we mentioned this previously) > Jiri Ropek (Similarly) >   <snippage>     --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.445 / Virus Database: 250 - Release Date: 1/21/03  
(back) Subject: Mothering Sunday From: <EchoGamba@aol.com> Date: Wed, 5 Feb 2003 09:16:42 EST     --part1_ba.36a8624e.2b7276ca_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Hello,   Can anybody suggest appropriate hymns for Mothering Sunday? We have a = rather large service taking place and I am just about to start planning.   Thanks   Paul EchoGamba@aol.com   --part1_ba.36a8624e.2b7276ca_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2 = FAMILY=3D3D"SANSSERIF" FACE=3D =3D3D"Arial" LANG=3D3D"0">Hello,<BR> <BR> Can anybody suggest appropriate hymns for Mothering Sunday?&nbsp; We have = a=3D20=3D rather large service taking place and I am just about to start = planning.<BR> <BR> Thanks<BR> <BR> Paul<BR> EchoGamba@aol.com</FONT></HTML>   --part1_ba.36a8624e.2b7276ca_boundary--