PipeChat Digest #3404 - Tuesday, January 28, 2003
 
Re: Czech Republic Organ
  by "Antoni Scott" <ascott@ptd.net>
Re: Contemporary organ music
  by <DudelK@aol.com>
Lenten organ series
  by "Randolph Runyon" <runyonr@muohio.edu>
Re: Fred Swann in Cleveland (AND Skinner in Severance Hall)
  by "Jim Clouser" <CromorneCipher@hotmail.com>
Re: Czech Republic Organ
  by "Ross & Lynda Wards" <TheShieling@xtra.co.nz>
Re: Lenten organ series
  by <quilisma@socal.rr.com>
RE: Lenten organ series
  by "Emmons, Paul" <pemmons@wcupa.edu>
 

(back) Subject: Re: Czech Republic Organ From: "Antoni Scott" <ascott@ptd.net> Date: Mon, 27 Jan 2003 19:10:01 -0500   Hi John Speller:   I was glad to hear that you have other recordings of Jiri Ropek. Do you have these recordings on CD (even recorded from the LP) ? I would be very interested in obtaining such a copy so that I could transccibe them to CD. I would even volunteer to record this LP and send you a copy if you are willing to send me the LP. I have done this in the past for other members with "Bach on the Biggest".   The Ropek (St. Jakobs) LP is a wonderful recording, although somewhat dated. In the last few years , I was thrilled to hear the new Jan van Wingerden recording of Czech organ music (Festivo FECD 161) played on the new Van den Heuvel organ of Katwijk aan Zee. The registration is remarkably similar to Jiri's original registration on the recording of 1960 at St. Jakobs. It is very similar to the original with the added advantage of the new CD dynamics. Well worth the listening. I would love to send you a copy if you wish. The most outstanding recording I have heard in many years is the Josef Klicka (1855-1937) composition "Concert Fantasy on the St. Wenceslas Choral, Hymne Czech, op. 65". One member, very generously sent me the sheet music to this piece. For sure, it is one of those "listen alone, turn up the volume" pieces. I highly recommend this to any of the PipeChat Members.   Antoni Scott   John L. Speller wrote: > > Antoni Scott wrote: > > > Some 40 years ago I heard an absolutely gorgeous organ in St. Jakob's = , > > Prague, Czechoslovakia. I wrote to the organist (Jiri Ropek) and he = kindly > > responded with a description of the complete organ. It was a brilliant = and > > full organ. It has been updated and enlarged since its original 1700's > > design but is still within the Czech tradition. Jiri Ropek played = French > > masterpieces plus a Czech choral on the Supraphon label (circa 1964). > > I have several of the old Supraphon recordings on vinyl from > the 1960's, including a couple of Jiri Ropek. Some of the > recordings were made on Czech organs and others were > recorded on famous Dutch instruments, such as the Bavokerk > in Haarlem and the Michaeliskerk in Zwolle. I thought some > of the Czech Reiger-Kloss instruments from the middle of the > twentieth century sounded a little screechy. I also have a > very fine recording of Mr. Ropek playing the then new Mander > at St. Giles, Cripplegate in London. For many years Jiri > Ropek used to come and give an annual recital at St. John's > Church in Taunton, the town where I grew up, so I got to > meet him several times. > > John Speller > > "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: Contemporary organ music From: <DudelK@aol.com> Date: Mon, 27 Jan 2003 19:25:13 EST     --part1_1a9.101324db.2b6727e9_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Paul's comments are interesting in light of a profile of the new Senior = vice president, chief financial officer, and treasurer of Georgetown = University. When asked how his experience at AT&T will help him, he talks about the importance of brand and brand equity and making sure the finances of Georgetown enhance that brand equity in a very competitive industry like higher education. When asked what attracted him to Georgetown, he says = it's a premiere institution in a very competitive industry, ... an industry that = I wanted to experience and learn more about and contribute to its competitiveness.   Admittedly he's on the business side, and obviously has impressive credentials, but I found it a bit jarring to hear him refer to higher education as "an industry." Maybe I'm just old and out of touch. But it = also seems to reflect a mindset in some religious institutions, famous and otherwise, where music programs are expected to be profit centers and contribute to the bottom line.   Guess it's a good thing I'm no longer actively engaged in any significant = way in either higher education or church music. Or much of anything else, for that matter.   --part1_1a9.101324db.2b6727e9_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">Paul's comments are interesting in light of a = profile of the new Senior vice president, chief financial officer, and = treasurer of Georgetown University. When asked how his experience at = AT&amp;T will help him, he talks about the importance of brand and brand = equity and making sure the finances of Georgetown enhance that brand = equity in a very competitive industry like higher education. When asked = what attracted him to Georgetown, he says it's a premiere institution in a = very competitive industry, ... an industry that I wanted to experience and = learn more about and contribute to its competitiveness.<BR> <BR> Admittedly he's on the business side, and obviously has impressive = credentials, but I found it a bit jarring to hear him refer to higher = education as "an industry." Maybe I'm just old and out of touch. But it = also seems to reflect a mindset in some religious institutions, famous and = otherwise, where music programs are expected to be profit centers and = contribute to the bottom line.<BR> <BR> Guess it's a good thing I'm no longer actively engaged in any significant = way in either higher education or church music. Or much of anything else, = for that matter.</FONT></HTML>   --part1_1a9.101324db.2b6727e9_boundary--  
(back) Subject: Lenten organ series From: "Randolph Runyon" <runyonr@muohio.edu> Date: Mon, 27 Jan 2003 19:48:49 -0500   Our church has a 7:00 p.m. service every Wednesday in Lent. The local musi= c committee has asked me to do fifteen or twenty (could even be thirty) minutes of organ recitals before each service in hopes of drawing more people to attend. I'm not sure I share their confidence that such would be the result, but in any case I am looking for ideas of appropriate music to program. What I have in mind is to explore the organ literature for Lenten / Passion music. Titles that immediately come to mind are   music that specifically refers to the events of passion week: Marcel Dupr=E9, La Crucifixion, from Symphonie-Passion Marcel Dupr=E9, Le Chemin de la Croix Paul de Maleingreau, Symphonie de la Passion Jean-Jacques Grunenwald, Le Jardin des Oliviers, from Suite no. 1 J.S. Bach, various chorales depicting moments of the Passion   music that relates in a more general sense to Lenten somberness Jehan Alain, Litanies J.S. Bach, Out of the Depths I Cry to Thee Jean Langlais, Out of the Depths   I think with thesem I have enough, especially if I also play Franck's three chorales in there somewhere, as I'd like to do.   But I would like to hear any and all suggestions....     Randy Runyon Music Director Zion Lutheran Church Hamilton, Ohio runyonr@muohio.edu      
(back) Subject: Re: Fred Swann in Cleveland (AND Skinner in Severance Hall) From: "Jim Clouser" <CromorneCipher@hotmail.com> Date: Mon, 27 Jan 2003 20:00:32 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0022_01C2C63E.BF8BFE10 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   I agree with you, some of the reeds on the instrument are VERY week. I = =3D think that some of the ensemble work on the instrument is a LITTLE =3D muddy. Shantz was not involved in revoicing the instrument though, they = =3D only reinstalled the pipes and recreated the console. You must have =3D been sitting very close to Todd Wilson if you were up there in the =3D balcony. Our studio got seats in the E row (center stage, orchestra =3D seating) and the sound was fine, but I can pretty much say for certain =3D that there is not a bad seat in Severance Hall! I'm a bit hesitant to =3D reveal my thoughts about Mr. Swann's playing, only because he is now 70 = =3D years old and this is my first time hearing him play. As far as his =3D program selections, they were very creative and diverse. One of my =3D colleauges looked at the program and said, "Look at how long his program = =3D is. He's a real organist! *smirk*". His encore was very witty, but I =3D wish that he would have spoken a little bit about it before he played it = =3D (what's the name of it? who wrote it?). Overall, I enjoyed the =3D program!   Jim Clouser BM candidate, Cleveland Institute of Music Music Director/Organist Reformation Lutheran Evangelical Church Eastlake, Ohio ----- Original Message -----=3D20 From: Barry H Bodie=3D20 To: Pipe Chat ; Pipeorg-L=3D20 Sent: Monday, January 27, 2003 3:43 PM Subject: Fred Swann in Cleveland     I traveled from Brevard, NC to Cleveland to hear his recital. I was =3D most impressed with the reincarnated Skinner in Severance Hall. I was =3D sitting in the balcony in direct line with the organ. I could very =3D easily discern the placement of the various divisions and individual =3D stops within each division. The typical Skinner solo voices were =3D wonderful. The pedal bombarde was overwhelming. I was less impressed =3D with the solo Tuba Mirabilis, which I thought was underpowered for the =3D remainder of the organ. Though its use was extensive in the Wilan =3D Introduction, Passacaglia and Fugue, it functioned as more of a chorus =3D reed than the powerful solo stop it was intended to be. I was also =3D impressed with the principal chorus which was very clear and not at all = =3D tubby. Mixtures were also very nicely done. Even the Bach piece he =3D played sounded acceptable. Not at all what some of us had been led to =3D expect from E.M. Skinner in his heyday.   =3D20   From what I understand, Schantz didn't significantly change the =3D voicing or character of the stops, nor were any added.   =3D20   Needless to say, Mr Swann's playing was impeccably flawless, his =3D registration tasteful and his selections completely in character with =3D the instrument. Given the opportunity, I can truly say I'd travel 500 =3D miles through freezing temperatures and blizzard conditions to repeat =3D the visit.   =3D20   Barry Bodie   Brevard, NC   ------=3D_NextPart_000_0022_01C2C63E.BF8BFE10 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML xmlns=3D3D"http://www.w3.org/TR/REC-html40" xmlns:o =3D3D=3D20 "urn:schemas-microsoft-com:office:office" xmlns:w =3D3D=3D20 "urn:schemas-microsoft-com:office:word" xmlns:st1 =3D3D=3D20 "urn:schemas-microsoft-com:office:smarttags"><HEAD> <META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D charset=3D3Diso-8859-1"> <META content=3D3DWord.Document name=3D3DProgId> <META content=3D3D"MSHTML 6.00.2800.1126" name=3D3DGENERATOR> <META content=3D3D"Microsoft Word 10" name=3D3DOriginator><LINK=3D20 href=3D3D"cid:filelist.xml@01C2C61A.E4F92DE0" =3D rel=3D3DFile-List><o:SmartTagType=3D20 name=3D3D"place"=3D20 namespaceuri=3D3D"urn:schemas-microsoft-com:office:smarttags"></o:SmartTagT= =3D ype><o:SmartTagType=3D20 name=3D3D"State"=3D20 namespaceuri=3D3D"urn:schemas-microsoft-com:office:smarttags"></o:SmartTagT= =3D ype><o:SmartTagType=3D20 name=3D3D"City"=3D20 namespaceuri=3D3D"urn:schemas-microsoft-com:office:smarttags"></o:SmartTagT= =3D ype><!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:DoNotRelyOnCSS/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:SpellingState>Clean</w:SpellingState> <w:GrammarState>Clean</w:GrammarState> <w:DocumentKind>DocumentEmail</w:DocumentKind> <w:EnvelopeVis/> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if !mso]> <STYLE>st1\:* { BEHAVIOR: url(#default#ieooui) } </STYLE> <![endif]--> <STYLE> <!-- /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} a:link, span.MsoHyperlink {color:blue; text-decoration:underline; text-underline:single;} a:visited, span.MsoHyperlinkFollowed {color:purple; text-decoration:underline; text-underline:single;} span.EmailStyle17 {mso-style-type:personal-compose; mso-style-noshow:yes; mso-ansi-font-size:10.0pt; mso-bidi-font-size:10.0pt; font-family:Arial; mso-ascii-font-family:Arial; mso-hansi-font-family:Arial; mso-bidi-font-family:Arial; color:windowtext;} span.SpellE {mso-style-name:""; mso-spl-e:yes;} span.GramE {mso-style-name:""; mso-gram-e:yes;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> </STYLE> <!--[if gte mso 10]> <style> /* Style Definitions */=3D20 table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";} </style> <![endif]--></HEAD> <BODY lang=3D3DEN-US style=3D3D"tab-interval: .5in" vLink=3D3Dpurple =3D link=3D3Dblue=3D20 bgColor=3D3D#ffffff> <DIV><FONT face=3D3DArial size=3D3D2>I agree with you, some of the reeds = on =3D the=3D20 instrument are VERY week.&nbsp; I think that some of the ensemble =3D work&nbsp;on=3D20 the instrument&nbsp;is a LITTLE muddy.&nbsp;&nbsp;Shantz was not =3D involved in=3D20 revoicing the instrument though, they only reinstalled the pipes and =3D recreated=3D20 the console.&nbsp; You must have been sitting very close to Todd Wilson = =3D if you=3D20 were up there in the balcony.&nbsp; Our studio got&nbsp;seats&nbsp;in =3D the E row=3D20 (center stage, orchestra seating) and the sound was fine, but I&nbsp;can = =3D pretty=3D20 much say for certain that there is not a bad seat in Severance =3D Hall!&nbsp; I'm a=3D20 bit hesitant to&nbsp;reveal my thoughts about Mr. Swann's =3D playing,&nbsp;only=3D20 because he is now 70 years old&nbsp;and this is my first time hearing=3D20 him&nbsp;play. &nbsp;As far as his program selections, they were very =3D creative=3D20 and diverse.&nbsp;&nbsp;One of my colleauges looked at the program and =3D said,=3D20 "Look at&nbsp;how long his program is.&nbsp;&nbsp;He's a <U>real</U> =3D organist!=3D20 *smirk*".&nbsp; His encore was very witty, but I wish that he would have = =3D spoken=3D20 a little bit about it before he played it (what's the name of it?&nbsp; = =3D who=3D20 wrote it?).&nbsp; Overall, I enjoyed the program!</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Jim Clouser</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>BM candidate, Cleveland Institute = of=3D20 Music</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>Music Director/Organist</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>Reformation Lutheran Evangelical=3D20 Church</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>Eastlake, Ohio</FONT></DIV> <BLOCKQUOTE dir=3D3Dltr=3D20 style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =3D BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style=3D3D"FONT: 10pt arial">----- Original Message ----- </DIV> <DIV=3D20 style=3D3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =3D black"><B>From:</B>=3D20 <A title=3D3Dbbodie@InfoAve.Net = href=3D3D"mailto:bbodie@InfoAve.Net">Barry =3D H Bodie</A>=3D20 </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>To:</B> <A =3D title=3D3Dpipechat@pipechat.org=3D20 href=3D3D"mailto:pipechat@pipechat.org">Pipe Chat</A> ; <A=3D20 title=3D3DPipeorg-l@listserv.albany.edu=3D20 href=3D3D"mailto:Pipeorg-l@listserv.albany.edu">Pipeorg-L</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Sent:</B> Monday, January 27, 2003 = =3D 3:43=3D20 PM</DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Subject:</B> Fred Swann in =3D Cleveland</DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT><FONT face=3D3DArial =3D size=3D3D2></FONT><FONT=3D20 face=3D3DArial size=3D3D2></FONT><FONT face=3D3DArial = size=3D3D2></FONT><FONT =3D face=3D3DArial=3D20 size=3D3D2></FONT><FONT face=3D3DArial size=3D3D2></FONT><FONT = face=3D3DArial=3D20 size=3D3D2></FONT><FONT face=3D3DArial size=3D3D2></FONT><FONT = face=3D3DArial=3D20 size=3D3D2></FONT><FONT face=3D3DArial size=3D3D2></FONT><BR></DIV> <DIV class=3D3DSection1> <P class=3D3DMsoNormal><FONT face=3D3DArial size=3D3D2><SPAN=3D20 style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">I traveled from=3D20 </SPAN></FONT><st1:place><st1:City><FONT face=3D3DArial = size=3D3D2><SPAN=3D20 style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: =3D Arial">Brevard</SPAN></FONT></st1:City><FONT=3D20 face=3D3DArial size=3D3D2><SPAN style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: = =3D Arial">,=3D20 </SPAN></FONT><st1:State><FONT face=3D3DArial size=3D3D2><SPAN=3D20 style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: =3D Arial">NC</SPAN></FONT></st1:State></st1:place><FONT=3D20 face=3D3DArial size=3D3D2><SPAN style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: = =3D Arial"> to=3D20 </SPAN></FONT><st1:City><st1:place><FONT face=3D3DArial = size=3D3D2><SPAN=3D20 style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: =3D Arial">Cleveland</SPAN></FONT></st1:place></st1:City><FONT=3D20 face=3D3DArial size=3D3D2><SPAN style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: = =3D Arial"> to hear=3D20 his recital. I was most impressed with the reincarnated Skinner in =3D Severance=3D20 Hall. I was sitting in the balcony in direct line with the organ. I =3D could very=3D20 easily discern the placement of the various divisions and individual =3D stops=3D20 within each division. The typical Skinner solo voices were wonderful. = =3D The=3D20 pedal <SPAN class=3D3DSpellE>bombarde</SPAN> was overwhelming. I was =3D less=3D20 impressed with the solo Tuba Mirabilis, which I thought was =3D underpowered for=3D20 the remainder of the organ. Though its use was extensive in the = <SPAN=3D20 class=3D3DSpellE>Wilan</SPAN> Introduction, Passacaglia and Fugue, it = =3D functioned=3D20 as more of a chorus reed than the powerful solo stop it was intended =3D to be. I=3D20 was also impressed with the principal chorus which was very clear and = =3D not at=3D20 all tubby. Mixtures were also very nicely done. Even the Bach piece he = =3D played=3D20 sounded acceptable. Not at all what some of us had been led to expect = =3D from=3D20 E.M. Skinner in his heyday.<o:p></o:p></SPAN></FONT></P> <P class=3D3DMsoNormal><FONT face=3D3DArial size=3D3D2><SPAN=3D20 style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: =3D Arial"><o:p>&nbsp;</o:p></SPAN></FONT></P> <P class=3D3DMsoNormal><FONT face=3D3DArial size=3D3D2><SPAN=3D20 style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">From what I understand, = =3D <SPAN=3D20 class=3D3DSpellE>Schantz</SPAN> didn=3D92t significantly change the =3D voicing or=3D20 character of the stops, nor were any =3D added.<o:p></o:p></SPAN></FONT></P> <P class=3D3DMsoNormal><FONT face=3D3DArial size=3D3D2><SPAN=3D20 style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: =3D Arial"><o:p>&nbsp;</o:p></SPAN></FONT></P> <P class=3D3DMsoNormal><FONT face=3D3DArial size=3D3D2><SPAN=3D20 style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Needless to say, = <SPAN=3D20 class=3D3DSpellE>Mr</SPAN> Swann=3D92s playing was impeccably flawless, =3D his=3D20 registration tasteful and his selections completely in character with = =3D the=3D20 instrument. Given the opportunity, I can truly say I=3D92d travel 500 = =3D miles=3D20 through freezing temperatures and blizzard conditions to repeat the=3D20 visit.<o:p></o:p></SPAN></FONT></P> <P class=3D3DMsoNormal><FONT face=3D3DArial size=3D3D2><SPAN=3D20 style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: =3D Arial"><o:p>&nbsp;</o:p></SPAN></FONT></P> <P class=3D3DMsoNormal><FONT face=3D3DArial size=3D3D2><SPAN=3D20 style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Barry=3D20 Bodie<o:p></o:p></SPAN></FONT></P> <P class=3D3DMsoNormal><st1:place><st1:City><FONT face=3D3DArial =3D size=3D3D2><SPAN=3D20 style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: =3D Arial">Brevard</SPAN></FONT></st1:City><FONT=3D20 face=3D3DArial size=3D3D2><SPAN style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: = =3D Arial">,=3D20 </SPAN></FONT><st1:State><FONT face=3D3DArial size=3D3D2><SPAN=3D20 style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: =3D Arial">NC</SPAN></FONT></st1:State></st1:place><FONT=3D20 face=3D3DArial size=3D3D2><SPAN=3D20 style=3D3D"FONT-SIZE: 10pt; FONT-FAMILY: =3D Arial"><o:p></o:p></SPAN></FONT></P></DIV></BLOCKQUOTE></BODY></HTML>   ------=3D_NextPart_000_0022_01C2C63E.BF8BFE10--  
(back) Subject: Re: Czech Republic Organ From: "Ross & Lynda Wards" <TheShieling@xtra.co.nz> Date: Tue, 28 Jan 2003 15:05:07 +1300   > I have done this in the past for >other members with "Bach on the Biggest".   My copy of this, bought 2nd-hand, is badly worn and scratched? Could you = do me a CD copy of yours and advise me of the cost? Perhaps a private email = and I could send you my home address? Thanks, if possible for you to do this. Ross    
(back) Subject: Re: Lenten organ series From: <quilisma@socal.rr.com> Date: Mon, 27 Jan 2003 17:21:30 -0800   Heiller - Ecce lignum Crucis, based on the chant for the unveiling of the Cross on Good Friday ... WONDERFUL piece ... it's in an anthology, but I can't for the life of me remember the name ... maybe somebody else will.   How hard is the Grunenwald? I don't know it ...   Certainly the big Bach "O Lamm Gottes" from the Great Eighteen ...   Scheidt - When Jesus Stood Beside the Cross   Unfortunately there are no folios of the Tournemire L'Orgue Mystique for Lent, except for Refreshment Sunday.   The Dupre Stations really deserve a service of their own (on Good Friday night?), with the poems.   Cheers,   Bud       Randolph Runyon wrote: >=20 > Our church has a 7:00 p.m. service every Wednesday in Lent. The local = music > committee has asked me to do fifteen or twenty (could even be thirty) > minutes of organ recitals before each service in hopes of drawing more > people to attend. I'm not sure I share their confidence that such woul= d be > the result, but in any case I am looking for ideas of appropriate music= to > program. What I have in mind is to explore the organ literature for Le= nten > / Passion music. Titles that immediately come to mind are >=20 > music that specifically refers to the events of passion week: > Marcel Dupr=E9, La Crucifixion, from Symphonie-Passion > Marcel Dupr=E9, Le Chemin de la Croix > Paul de Maleingreau, Symphonie de la Passion > Jean-Jacques Grunenwald, Le Jardin des Oliviers, from Suite no. 1 > J.S. Bach, various chorales depicting moments of the Passion >=20 > music that relates in a more general sense to Lenten somberness > Jehan Alain, Litanies > J.S. Bach, Out of the Depths I Cry to Thee > Jean Langlais, Out of the Depths >=20 > I think with thesem I have enough, especially if I also play Franck's t= hree > chorales in there somewhere, as I'd like to do. >=20 > But I would like to hear any and all suggestions.... >=20 > Randy Runyon > Music Director > Zion Lutheran Church > Hamilton, Ohio > runyonr@muohio.edu >=20 > "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: Lenten organ series From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Mon, 27 Jan 2003 22:57:36 -0500   Bud Clark suggests:   >Heiller - Ecce lignum Crucis, based on the chant for the unveiling of the Cross on Good Friday ... WONDERFUL piece ... it's in an anthology, but I can't for the life of me remember the name ... maybe somebody else will.   Thank you for mentioning the Heiller, because it is one of my favorites, too. Together with others, we've now got on the table most of what I = played last March 10 at Saint Thomas's in New York-- a program that I had tried = to make more than nominally Lenten, and Malcolm Wechsler's review was kind enough to praise in that regard.   It's in one of the two volumes of Modern Organ Music-- the blue one-- once published by OUP but now, distressingly, just OP. The same book also contains Paean, by Kenneth Leighton, another piece = hardly Lenten but equally deserving of everlasting life.   One should know that "Ecce lignum Crucis" is sung thrice in succession in the Good Friday liturgy, each time in a higher key. Heiller's presentation matches-- with three sections treating the melody in quite distinct ways = and in rising keys. I think that the middle section specifically evokes the Crucifixion itself, where the melody is quoted in violent staccato chords over an insistent drumbeat pedal point, like hammers pounding nails. It eventually rises to soar starkly in octaves in a high register (I used the Trompette en Chamade at this point, although Heiller didn't specify any particular registration), like the Cross lifted aloft on Calvary, while chromatically falling motives in the manuals and pedals beneath it seem = like gasps of shock and despair. This climax recedes rather quickly to a = final section, very tender and gentle. I have to think of the Pieta-- the body taken down from the cross into the arms of Mary, as the Ecce Lignus Crucis melody is combined with a second theme appearing like a heavenly gift of solace for the bereaved: the German folk song "Es sungen drei Engel" (familiar to anyone who knows the opening of Hindemith's symphony "Mathis der Maler.")   I also used Karg-Elert's chorale prelude on "Aus Tiefer Not". Langlais's = "De Profundis" is actually a prelude on this tune, too. The Langlais, the = Bach, and the Karg-Elert-- in that order-- go well as a series. They are all in = e minor. Ordinarily one does not want to play successive pieces in the same key, but here I felt that it contributed to the effect by providing an element of continuity and flow, with the three very different styles = rising to the challenge of providing the element of contrast. For that matter, given time it might be great to follow with a fourth piece that uses "Aus tiefer Noth": the first movement of Mendelssohn's third sonata; where the key changes refreshingly to A major.   My Grunenwald was "Hommage a Josquin des Pres", not explicitly Lenten, perhaps, yet a sober commemoration of someone long deceased-- and = poignantly elegiac and wistful at that. I've always loved it.