PipeChat Digest #3433 - Thursday, February 6, 2003
 
RE: more on performance practice
  by "Charles E. Brown" <chabrown@bellatlantic.net>
Re: more on performance practice
  by <quilisma@socal.rr.com>
Re: Road trip to Casavant (VERY Long)
  by "Alan Freed" <acfreed0904@earthlink.net>
Re: Skinner opus 132 for FREE in NYC
  by <Victorgan@aol.com>
Re: PipeChat Digest #3409 - 01/28/03
  by <PipeO52@aol.com>
Re: And I thought 15 minutes was long...
  by <Chicaleee@aol.com>
Re: And I thought 15 minutes was long...
  by <Chicaleee@aol.com>
Re: Road trip to Casavant (VERY Long)
  by <Chicaleee@aol.com>
I wish to unsubscribe
  by <PEsch8@aol.com>
Re: UK radio "The organist entertains"
  by <Chicaleee@aol.com>
seeking music for Men's Chorus and Organ
  by <patmai@juno.com>
John Cage's 639-year organ work
  by <TubaMagna@aol.com>
RE: Road trip to Casavant
  by "Andrew Mead" <mead@eagle.ca>
Re: more on performance practice
  by <Cremona502@cs.com>
NYNY (Start tellin' the news)
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Re: John Cage's 639-year organ work
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Re: seeking music for Men's Chorus and Organ
  by "Noel Stoutenburg" <mjolnir@ticnet.com>
RE.; TRINITY CHURCH, WALL STREET
  by "D. Keith Morgan" <aeolian_skinner@yahoo.com>
 

(back) Subject: RE: more on performance practice From: "Charles E. Brown" <chabrown@bellatlantic.net> Date: Wed, 5 Feb 2003 20:36:47 -0500   Jonathan:   As artists, I think we need to begin with the goal or desired end.   I often use the analogy of the painter. Before that person can paint, they must see the finished product on the canvas. Art, to me, is realizing what is in our mind.   When I speak of visualizing the notes, I am speaking of the former. Studying the music and hearing the finished product in my mind.   Charles E. Brown Author - Fireworks MX From Zero to Hero Beginning Dreamweaver MX Contributor - The Macromedia Studio MX Bible   -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org] On Behalf Of Jonathan Sent: Tuesday, February 04, 2003 11:11 PM To: pipechat@pipechat.org Subject: RE: more on performance practice   You said: A big part of my practice, especially in the beginning of learning a new composition, is practicing away from the keyboard. Just closing my eyes and letting the music formulate in my mind. Letting it talk to me and visualizing the finished product.     Charles:   Do you mean that you look at the notes written on the page and try to "visualize" the sound and structure of the piece or do you mean you listen to a recording before starting to work on it? This is fascinating (I've never heard this in so many words before). Have you found this to help you get into a new piece more quickly?   Jonathan Humbert     "Pipe Up and Be Heard!" PipeChat: A discussion List for pipe/digital organs & related topics HOMEPAGE : http://www.pipechat.org List: mailto:pipechat@pipechat.org Administration: mailto:admin@pipechat.org Subscribe/Unsubscribe: mailto:requests@pipechat.org        
(back) Subject: Re: more on performance practice From: <quilisma@socal.rr.com> Date: Wed, 05 Feb 2003 17:50:44 -0800       Daniel Muller wrote: > > On Tue, 04 Feb 2003, at 11:54:38 -0800, <quilisma@socal.rr.com> wrote: > > "... A couple of things: even IF the music could be performed in the > context > of the Mass, and even IF a priest and congregation would hold still > for > the LENGTH, *most* modern congregations would jump out of their SKINS > if > the organist launched into a Grand Jeu in the midst of the Kyrie, with > all the reeds and cornets blazing away. > > The same can be said for the versets of the Sanctus and the Agnus Dei. > We're dealing with a TOTALLY different liturgical aesthetic in the > 21st > century." > > While accepting Mr. Clark's premise that a time (and place) machine is > not necessary for effective use of music from different periods for > liturgy, I would like to introduce some nuancing: I think that a grand > jeu in the Kyrie would not be a surprise based on other music that would > precede and contextualize it. Depending on the ceremonial, there might > be quite a bit of time for the organist to "extend" the introit, and it > would be precisely his job to bring the music around to the Kyrie. In a > similar way, it is often my job to extend the offertory chant in a way > that acknowledges that (the "preface dialogue" Dominus vobiscum ... and) > Sanctus are coming.   True, BUT ... let's take the Couperin Mass for the Parishes as an example. If the first strophe of the Kyrie is sung by the schola to Gregorian Mass IV, the first movement played by the organ is a Plein Jeu, registration as follows:   G.O.   16' Montre or Bourdon 8' Montre 4' Prestant 2' Doublette Fourniture   (Positif coupled)   Positif   8' Bourdon 4' Prestant 2' Doublette Cymbale   Pedale (the chant cantus firmus)   8' Flute (open, more like a large-scale principal stop) 4' Flute 8' Trompette 4' Clairon   Now, assuming that the Introit had ALSO been sung to the original Gregorian melody, the above would be quite a startling outburst from the organ for the average congregation, RC *or* Anglican, PARTICULARLY if the organ has anything RESEMBLING French *reeds* in the Pedale.   I don't see TIME as the issue ... if the full Tridentine ceremonial for the censing of the altar at the Introit is carried out, the average Gregorian Introit MORE than covers it. I can't recall a time that the priest wasn't at the Missal ready to recite the Kyrie (privately) by the time we finished the Introit, even at Pontifical Solemn Masses where we had to wait to begin the Introit after the Archdeacon had chanted the Confiteor (how many people remember THAT?).   I played for many years in a very large Tridentine Rite RC church in Cincinnati ... except for Easter and Pentecost, something like that simply wouldn't have been tolerated, and this was a relatively sophisticated congregation ... the choir regularly sang Palestrina, Mozart, Haydn, Langlais, Durufle, etc. ... you must admit, except for the BIG Mozart Masses with trumpets and timpani, the Kyries simply aren't *that* NOISY (grin).   > > Actually, the first piece of music that came to my mind while reading > this was the Kyrie from Langlais' Missa "Salve Regina" for (male?) > chorus and brass (four trombones?) alternatim accompanied by organ, > which is of course quite modern -- and loud! -- although based on the > solemn tone Salve Regina. Find me the brass and I will do it in a > heartbeat. And there will probably be a brass prelude as well. In > ritual, the best surprise is no surprise. > > "The same can also be said of the pieces for the Elevations ... in > Italy > in Frescobaldi's time, it was the custom for the priest to hold the > Host > aloft for five minutes or more, which allowed for the playing of the > Toccatas at the Elevation in the Fiori musicale. That liturgical > custom > no longer exists." > > Three points: First of all, the Benedictus was to be sung and the > elevation could be played over the Canon, which, not being a > proclamation such as the Gospel, was said silently.   True, but a polyphonic setting of the Sanctus ALONE often lasted UNTIL the Elevations; then if Benedictus was to be sung AFTER the Elevations, IT often lasted until the Paternoster.   What you say WOULD have been true by the 19th century in France, when the alternatim praxis had all but disappeared, and the organ elevation COULD cover the time from the first bell of the Sanctus until the "per omnia saecula saeculorum" of the Canon.   This is still true > in churches that celebrate the traditional Mass -- no, not ours. > Secondly, there is no restriction on the time of the actual elevation(s) > at a Catholic Mass; in our parish, each elevation is at least a full > minute. Finally, it is quite possible and appropriate to play an > elevation at Benediction. I think it is beautiful although I have never > done so; I also think it is quite possible that Frescobaldi did this > himself.   Perhaps someone else on the list has a better knowledge of Eucharistic devotions in Frescobaldi's time; I don't (grin). Given the paucity of composed settings of "Tantum ergo" as separate compositions before the time of Mozart (as opposed to settings of the full text of Pange lingua for Maundy Thursday and Corpus Christi, of which there are several), I wonder if Benediction was carried out in the same we that we knew it immediately before Vatican II.   > > We are not necessarily so remote from these traditions. > > Daniel Muller > Blessed Sacrament Church > Dallas >   Perhaps not, in a HANDFUL of RC churches in the US, and an even SMALLER number of high Anglican parishes. I can't think of ANY of the latter (in the US, anyway) that will tolerate a silent Canon, though some did formerly. Deon's parish in South Africa does ... they do the Tridentine rite when the choir sings orchestral Masses.   I've watched with GREAT interest the renaissance of the music program at the National Shrine in Washington DC ... but there is obviously some discomfort with trying to fit the music of the Tridentine Rite into the modern RC rite in English ... I'd NEVER heard a Mozart Agnus Dei at such a fast tempo (grin) ... but the Apostolic Delegate was at the altar, ALL but looking at his WATCH (chuckle). And, true to modern RC liturgical directives, the Sanctus and Benedictus were sung to a modern congregational setting in English, not the Mozart. I understand that even Brompton Oratory has succumbed to THAT bit of musical vandalism.   Cheers,   Bud    
(back) Subject: Re: Road trip to Casavant (VERY Long) From: "Alan Freed" <acfreed0904@earthlink.net> Date: Wed, 05 Feb 2003 21:07:16 -0500   On 2/5/03 2:40 PM, "Douglas A. Campbell" <dougcampbell@juno.com> wrote:   > 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! Thank you for a wonderful and quite detailed report. The first organ I fell in love with was 3/44 Casavant, c. 1953, opus # unknown. Pacific Lutheran University, Tacoma, Wash.   Really enjoyed your words. And looking forward to more details, and = photos.   Alan    
(back) Subject: Re: Skinner opus 132 for FREE in NYC From: <Victorgan@aol.com> Date: Wed, 5 Feb 2003 21:36:59 EST   Steven:   Please send me an address or call me collect.   330-792-1321   Vic  
(back) Subject: Re: PipeChat Digest #3409 - 01/28/03 From: <PipeO52@aol.com> Date: Wed, 5 Feb 2003 22:01:25 EST     --part1_19c.107e4aad.2b732a05_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   I had the pleasure to see and hear Felix Hell perform a couple weeks ago = in Ft. Wayne, IN. Afterwards the audience had a chance to meet with him. My =   comments to him were as follows:   1. Thank you.   2. Some people came to hear him merely because they wanted to hear an incredible organist who is only 17 years old. But his musicianship is phenomenal and aside from his age, whether he is 17 or 77, he is worth = every opportunity to enjoy the thrill and beauty of this remarkable musician.   3. Felix has done with the organ what very few organists ever do. He has managed to take the most mechanical or all musical instruments and breathe =   life into it. He gave it a soul. His performance of Bach's "O Mensch = bewein " was so passionate, that I found myself almost breathless by the end of = the piece because each and every phrase...every note...lifted me up...and = carried me along. I found myself breathing with the instrument.   Pipeo52@aol.com     --part1_19c.107e4aad.2b732a05_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">I had the pleasure to see and hear Felix Hell = perform=3D20=3D a couple weeks ago in Ft. Wayne, IN.&nbsp; Afterwards the audience had a = cha=3D nce to meet with him.&nbsp; My comments to him were as follows:<BR> <BR> 1. Thank you.<BR> <BR> 2.&nbsp; Some people came to hear him merely because they wanted to hear = an=3D20=3D incredible organist who is only 17 years old.&nbsp; But his musicianship = is=3D20=3D phenomenal and aside from his age, whether he is 17 or 77, he is worth = every=3D opportunity to enjoy the thrill and beauty of this remarkable musician. = <BR=3D > <BR> 3. Felix has done with the organ what very few organists ever do.&nbsp; He = h=3D as managed to take the most mechanical or all musical instruments and = breath=3D e life into it.&nbsp; He gave it a soul.&nbsp; His performance of Bach's = "<I=3D >O Mensch bewein</I>" was so passionate, that I found myself almost = breathle=3D ss by the end of the piece because each and every phrase...every = note...lift=3D ed me up...and carried me along.&nbsp; I found myself breathing with the = ins=3D trument.&nbsp; <BR> <BR> </FONT><FONT COLOR=3D3D"#0000ff" style=3D3D"BACKGROUND-COLOR: #ffffff" = SIZE=3D3D2=3D FAMILY=3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0">Pipeo</FONT><FONT = COLOR=3D3D"=3D #ff0000" style=3D3D"BACKGROUND-COLOR: #ffffff" SIZE=3D3D2 = FAMILY=3D3D"SANSSERIF" F=3D ACE=3D3D"Arial" LANG=3D3D"0">52</FONT><FONT COLOR=3D3D"#0080c0" = style=3D3D"BACKGROU=3D ND-COLOR: #ffffff" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" FACE=3D3D"Arial" = LANG=3D3D"0"><=3D I>@aol.com<BR> <BR> </I></FONT></HTML> --part1_19c.107e4aad.2b732a05_boundary--  
(back) Subject: Re: And I thought 15 minutes was long... From: <Chicaleee@aol.com> Date: Wed, 5 Feb 2003 22:34:42 EST     --part1_1ad.fff3ac6.2b7331d2_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   I have heard of that in the past. Glad I won't be here to perform it. = Lee   --part1_1ad.fff3ac6.2b7331d2_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT COLOR=3D3D"#400040" SIZE=3D3D2 = FAMILY=3D =3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0">I have heard of that in the = past.&n=3D bsp; Glad I won't be here to perform it.&nbsp; Lee</FONT></HTML>   --part1_1ad.fff3ac6.2b7331d2_boundary--  
(back) Subject: Re: And I thought 15 minutes was long... From: <Chicaleee@aol.com> Date: Wed, 5 Feb 2003 22:35:27 EST     --part1_66.2e14d4c0.2b7331ff_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   I have heard about this and am glad I won't be here to perform it. Lee   --part1_66.2e14d4c0.2b7331ff_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT COLOR=3D3D"#400040" SIZE=3D3D2 = FAMILY=3D =3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0">I have heard about this and = am glad=3D I won't be here to perform it.&nbsp; Lee</FONT></HTML>   --part1_66.2e14d4c0.2b7331ff_boundary--  
(back) Subject: Re: Road trip to Casavant (VERY Long) From: <Chicaleee@aol.com> Date: Wed, 5 Feb 2003 22:38:39 EST     --part1_17e.166a6f5c.2b7332bf_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   How fortunate you were to take the trip. Wish I could have joined the = group. Lee   --part1_17e.166a6f5c.2b7332bf_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT COLOR=3D3D"#400040" SIZE=3D3D2 = FAMILY=3D =3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0">How fortunate you were to = take the=3D20=3D trip.&nbsp; Wish I could have joined the group.&nbsp; Lee</FONT></HTML>   --part1_17e.166a6f5c.2b7332bf_boundary--  
(back) Subject: I wish to unsubscribe From: <PEsch8@aol.com> Date: Wed, 5 Feb 2003 22:41:33 EST     --part1_1e9.11f6933.2b73336d_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Can you please delete my name from your list. Paul Eschenauer Pesch8@aol.com thank you.   --part1_1e9.11f6933.2b73336d_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT COLOR=3D3D"#0000a0" SIZE=3D3D3 = FAMILY=3D =3D3D"SERIF" FACE=3D3D"Times New Roman CE" LANG=3D3D"0"><I>Can you please = delete m=3D y name from your list.<BR> Paul Eschenauer<BR> Pesch8@aol.com<BR> thank you.</I></FONT></HTML>   --part1_1e9.11f6933.2b73336d_boundary--  
(back) Subject: Re: UK radio "The organist entertains" From: <Chicaleee@aol.com> Date: Wed, 5 Feb 2003 22:42:40 EST     --part1_a9.384ff6c8.2b7333b0_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Colin, I had the opportunity to take an organ crawl of the Mander with Malcolm and hear him demonstrate the organ when I was in NY last summer. That was quite a thrill for me. I also heard Jon Hall in concert. He was =   very personable and a great organist. It was a wonderful trip to New = York. I plan to go again in June and hope to hear some more concerts and take another organ crawl. Lee   --part1_a9.384ff6c8.2b7333b0_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT COLOR=3D3D"#400040" SIZE=3D3D2 = FAMILY=3D =3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0">Colin, I had the = opportunity to tak=3D e an organ crawl of the Mander with Malcolm and hear him demonstrate the = org=3D an when I was in NY last summer.&nbsp; That was quite a thrill for = me.&nbsp;=3D I also heard Jon Hall in concert.&nbsp; He was very personable and a = great=3D20=3D organist.&nbsp; It was a wonderful trip to New York.&nbsp; I plan to go = agai=3D n in June and hope to hear some more concerts and take another organ = crawl.&=3D nbsp; Lee</FONT></HTML>   --part1_a9.384ff6c8.2b7333b0_boundary--  
(back) Subject: seeking music for Men's Chorus and Organ From: <patmai@juno.com> Date: Wed, 5 Feb 2003 22:47:19 -0500   Dear Pipechatters,   Any ideas for this poster who seeks music for TB, TTB, TTBB and organ for a December 2003 concert? Any particular settings of the Magnificat for this combination that you would recommend to him?   Please reply to Steven Russell at hemiola@optonline.net .   TYIA.   Pat Maimone Post Chapel, West Point, NY III/57 Aeolian-Skinner/Moeller/Gress-Miles patmai@juno.com   From: Steven Russell [mailto:hemiola@optonline.net] Sent: Thursday, January 30, 2003 3:38 PM To: Choral List Subject: Music for Men's Chorus and Organ   I am planning with my men's chorus a December 2003 concert in two locations with good pipe organs. I am looking for music for men's chorus and organ. It can, but need not, be holiday oriented. I figure that a setting of the Magnificat would fit nicely. Anyone have any ideas?   Steven A. Russell Artistic Director, The New Jersey Gay Men's Chorus hemiola@optonline.net Steven's Choral Connection http://www.monmouth.com/~srussell/   ________________________________________________________________ Sign Up for Juno Platinum Internet Access Today Only $9.95 per month! Visit www.juno.com  
(back) Subject: John Cage's 639-year organ work From: <TubaMagna@aol.com> Date: Wed, 5 Feb 2003 23:03:30 EST   Regarding John Cage's 639-year-long organ piece:   I have played the work eight times in recital. Despite being lauded for its originality, I have always felt that = those triplet figures in measures 356,978,457,008 through 356,978,457,617 were rather derivative and contrived. Although Cage states that the grace notes in the descending scales = that start at measure 4,196,977,347,096 "should be leapt off of, as if they = were hot, and not held for more than fourteen months," I find that if they are held less than a year and a half, it sounds like a mistake, and the = audience doesn't understand the musical gesture. When playing the work, it is best to follow it with something short = and light, such as Les Six Cent Soixante-Six Esquisses Ecosses de Saint-Saens, = a couple of lighthearted weeks that keep the program moving.  
(back) Subject: RE: Road trip to Casavant From: "Andrew Mead" <mead@eagle.ca> Date: Wed, 5 Feb 2003 23:25:58 -0500     I agree. A tour of the Casavant factory is fascinating. Wonderful experience. A. Mead      
(back) Subject: Re: more on performance practice From: <Cremona502@cs.com> Date: Wed, 5 Feb 2003 23:55:29 EST     --part1_e4.34a6a91c.2b7344c1_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 2/5/03 7:45:22 PM Eastern Standard Time, chabrown@bellatlantic.net writes:     However, in my opinion, ultimately it is the notes that will speak to me. A big part of my practice, especially in the beginning of learning a new composition, is practicing away from the keyboard. Just closing my eyes = and letting the music formulate in my mind. Letting it talk to me and = visualizing the finished product.     This is true, except that I would liken it to listening to someone reading = to you in a foreign language but with an "american" accent. You get the relative meaning but do not hear the inflection of the authentic pronunciation.   To get the right "accent" in organ music it is important to also hear the colour and temperament of the period. It isn't necessary to have an understanding and enjoyment, but it assists in communication.   For instance, I never really enjoyed the organ music of Buxtehude until I heard it played on unequal temperament. It opened up a new world of perception for me, not only in Buxtehude, but also Bach and others. I = now hear these unique tonalities, or rather experience these unique = tonalities, even when I'm playing on an instrument with equal temperament.   Bruce, with Miles, Molly and Degui in the Muttastery at Howling Acres http://members.tripod.com/Brucon502     --part1_e4.34a6a91c.2b7344c1_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica>In a message dated 2/5/03 7:45:22 PM = East=3D ern Standard Time, chabrown@bellatlantic.net writes: <BR> <BR> <BR><FONT COLOR=3D3D"#000080" SIZE=3D3D3>However, in my opinion, = ultimately it=3D20=3D is the notes that will speak to me.</FONT><FONT COLOR=3D3D"#000000" = SIZE=3D3D3=3D20=3D FAMILY=3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0"> <BR></FONT><FONT COLOR=3D3D"#000080" SIZE=3D3D3 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0">A big part of my practice, especially in the beginning = of le=3D arning a new composition, is practicing away from the keyboard. Just = closing=3D my eyes and letting the music formulate in my mind. Letting it talk to me = a=3D nd visualizing the finished product.</FONT><FONT COLOR=3D3D"#000000" = SIZE=3D3D3=3D FAMILY=3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0"> <BR> <BR> <BR>This is true, except that I would liken it to listening to someone = readi=3D ng to you in a foreign language but with an "american" accent. = &nbsp;&nbsp;Y=3D ou get the relative meaning but do not hear the inflection of the = authentic=3D20=3D pronunciation. &nbsp;&nbsp; <BR> <BR>To get the right "accent" in organ music it is important to also hear = th=3D e colour and temperament of the period. &nbsp;&nbsp;It isn't necessary to = ha=3D ve an understanding and enjoyment, but it assists in communication. <BR> <BR>For instance, I never really enjoyed the organ music of Buxtehude = until=3D20=3D I heard it played on unequal temperament. &nbsp;&nbsp;&nbsp;It opened up a = n=3D ew world of perception for me, not only in Buxtehude, but also Bach and = othe=3D rs. &nbsp;&nbsp;I now hear these unique tonalities, or rather experience = the=3D se unique tonalities, even when I'm playing on an instrument with equal = temp=3D erament. <BR> <BR>Bruce, with Miles, Molly and Degui &nbsp;in the Muttastery at Howling = Ac=3D res http://members.tripod.com/Brucon502 = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <BR></FONT></HTML>   --part1_e4.34a6a91c.2b7344c1_boundary--  
(back) Subject: NYNY (Start tellin' the news) From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Thu, 6 Feb 2003 04:58:20 +0000 (GMT)   Hello,   That reply really stung!   When I visited NY, it was perpetual fog, the organs were silent wherever I went, I was driving on the wrong side of the road (laughingly referred to as the pavement!), the Yellow Cab drivers were animals, the Police aggressive, the pedestrians suicidal and everyone seemed to be in a bad mood.   With a great sense of relief, I fled across the Brooklyn Bridge and headed out towards Boston!   It IS good to know that there are wonderful old AND new organs in NY, that there is one pleasant person who can play the organ well and.....yes.....I may try again someday.   Boston was lovely.   Regards,   Colin Mitchell UK     Chicaleee@aol.com wrote:   > Colin, I had the opportunity to take an organ crawl > of the Mander with > Malcolm and hear him demonstrate the organ when I > was in NY last summer. > That was quite a thrill for me. I also heard Jon > Hall in concert. He was > very personable and a great organist. It was a > wonderful trip to New York. >   __________________________________________________ Do You Yahoo!? Everything you'll ever need on one web page from News and Sport to Email and Music Charts http://uk.my.yahoo.com  
(back) Subject: Re: John Cage's 639-year organ work From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Thu, 6 Feb 2003 05:03:46 +0000 (GMT)   Hello,   Now THIS has to be the funniest reply I have ever seen on any organ list.....simply superb Sebastian!   In fact, I shall keep hard copy of this and, if it gets to the point that my "collection" of funny stories ever reaches a conclusion, I may be asking permission to include this.   ROFL   Regards,   Colin Mitchell UK         --- TubaMagna@aol.com wrote:   > Regarding John Cage's 639-year-long organ piece: > > I have played the work eight times in recital. > Despite being lauded for its originality, I have > always felt that those > triplet figures in measures 356,978,457,008 through > 356,978,457,617 were > rather derivative and contrived. >   __________________________________________________ Do You Yahoo!? Everything you'll ever need on one web page from News and Sport to Email and Music Charts http://uk.my.yahoo.com  
(back) Subject: Re: seeking music for Men's Chorus and Organ From: "Noel Stoutenburg" <mjolnir@ticnet.com> Date: Thu, 06 Feb 2003 00:28:23 -0600       patmai@juno.com wrote:   > Dear Pipechatters, > > Any ideas for this poster who seeks music for TB, TTB, TTBB and > organ for a December 2003 concert?   Oxford University Press publishes a volume or two of these in the "Carols = for Choirs" series. There are a number of settings of the Magnificat for = men's voices My own personal favorite vendor who is familiar with this = repertoire is Banks Music, a retail vendor in York UK.   URL: <www.banksmusic.co.uk>   ns    
(back) Subject: RE.; TRINITY CHURCH, WALL STREET From: "D. Keith Morgan" <aeolian_skinner@yahoo.com> Date: Wed, 5 Feb 2003 23:01:05 -0800 (PST)   In Trinity's website, we are told that this new electronic is a prototype which will be the first of its type ever built.   Then the organist goes on to say "The sound is so real, so phenomenal, so life-like, that I defy anybody to tell me they=92re not listening to a real pipe organ."   Would someone please explain to me how anyone can possibly know this?   D. Keith Morgan     __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com