PipeChat Digest #3784 - Friday, July 4, 2003
Re: How does one get pedal key to stay adjusted?
  by "V. David Barton" <vdbarton@erols.com>
Re: How does one get pedal key to stay adjusted?
  by <Gfc234@aol.com>
Re: VERY LONG:  SLC AGO Convention, chapter 2
  by "Ross & Lynda Wards" <TheShieling@xtra.co.nz>
Re: VERY LONG:  SLC AGO Convention, chapter 2
  by "Alan Freed" <acfreed0904@earthlink.net>
live chat on IRC TONIGHT (Thursday, July 3) at 9 p.m. Eastern time
  by <quilisma@socal.rr.com>
Re: VERY LONG:  SLC AGO Convention, chapter 2
  by "Brent Johnson" <brentmj@swbell.net>
RE: How does one get pedal key to stay adjusted?
  by "Andr=E9s G=FCnther" <agun@telcel.net.ve>
VERY LONG:  SLC AGO Convention, chapter 3
  by "Glenda" <gksjd85@direcway.com>

(back) Subject: Re: How does one get pedal key to stay adjusted? From: "V. David Barton" <vdbarton@erols.com> Date: Thu, 3 Jul 2003 14:16:44 -0400   > Andres Gunther wrote: > > Ah, yes- I almost forgot: *Please don't stand on the pedals when sitting > down or standing up* :)     Levitation you're recommending, already? >    
(back) Subject: Re: How does one get pedal key to stay adjusted? From: <Gfc234@aol.com> Date: Thu, 3 Jul 2003 16:14:19 EDT     --part1_1de.c177ed5.2c35e89b_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 7/3/2003 1:23:04 PM Central Daylight Time, vdbarton@erols.com writes:   > Levitation you're recommending, already? > I guess that depends on how many practice martinis you've had! lol     --part1_1de.c177ed5.2c35e89b_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">In a message dated 7/3/2003 1:23:04 PM Central = Dayligh=3D t Time, vdbarton@erols.com writes:<BR> <BR> <BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT=3D : 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Levitation you're = recommending,=3D already?<BR> </BLOCKQUOTE><BR> I guess that depends on how many practice martinis you've had!<BR> lol<BR> <BR> </FONT></HTML> --part1_1de.c177ed5.2c35e89b_boundary--  
(back) Subject: Re: VERY LONG: SLC AGO Convention, chapter 2 From: "Ross & Lynda Wards" <TheShieling@xtra.co.nz> Date: Fri, 4 Jul 2003 10:13:20 +1200   > So in short, it >is a tup and not real!   SURELY you mean "toupee"? A tup is a ram whose job is help the ewe provide lambs (saying this delicately).   Ross    
(back) Subject: Re: VERY LONG: SLC AGO Convention, chapter 2 From: "Alan Freed" <acfreed0904@earthlink.net> Date: Thu, 03 Jul 2003 18:18:25 -0400   On 7/3/03 2:07 PM, "andrew meagher" <ameagher@stny.rr.com> wrote:   > they didn't think the bald head looked good on TV. So in short, it > is a tup and not real! > > -----Original Message----- > From: pipechat@pipechat.org [mailto:pipechat@pipechat.org]On Behalf Of > Glenda > Sent: Monday, June 30, 2003 7:05 PM > To: 'PipeChat' > Subject: VERY LONG: SLC AGO Convention, chapter 2   Great candidate for chopping off the extranea before transmitting. The original from Glenda was GREAT. But twice?   Alan    
(back) Subject: live chat on IRC TONIGHT (Thursday, July 3) at 9 p.m. Eastern time From: <quilisma@socal.rr.com> Date: Thu, 03 Jul 2003 16:25:58 -0700   How to get there:   http://www.pipechat.org/irc.html   Cheers,   Bud      
(back) Subject: Re: VERY LONG: SLC AGO Convention, chapter 2 From: "Brent Johnson" <brentmj@swbell.net> Date: Thu, 3 Jul 2003 18:31:06 -0500   I have saved away a very pair of old photos of Gillian Weir and Fred = Swann. http://www.wicks.com/images/misc/fred&Gill.jpg I have no idea the year. Brent Johnson The Organ Classifieds http://www.organclassifieds.com ORGANLive? What is that? http://www.organclassifieds.com/organlive     ----- Original Message ----- From: "andrew meagher" <ameagher@stny.rr.com> To: "'PipeChat'" <pipechat@pipechat.org> Sent: Thursday, July 03, 2003 1:07 PM Subject: RE: VERY LONG: SLC AGO Convention, chapter 2     > Glenda, > > When Fred took the job at the Crystal Cathedral they made him get a = tupee > because they didn't think the bald head looked good on TV. So in short, it > is a tup and not real! > > -----Original Message-----    
(back) Subject: RE: How does one get pedal key to stay adjusted? From: "Andr=E9s G=FCnther" <agun@telcel.net.ve> Date: Thu, 3 Jul 2003 21:47:28 -0400   Andres Gunther agun@telcel.net.ve   Hee hee.. that's a good one! First thing my father told me was how to sit or get up on an organ without standing on the pedals. Just a matter of mystic :)   Cheers Andres   ----- Original Message ----- From: V. David Barton <vdbarton@erols.com> To: PipeChat <pipechat@pipechat.org> Sent: Thursday, July 03, 2003 2:16 PM Subject: Re: How does one get pedal key to stay adjusted?     > > Andres Gunther wrote: > > > > Ah, yes- I almost forgot: *Please don't stand on the pedals when = sitting > > down or standing up* :) > > > Levitation you're recommending, already?    
(back) Subject: VERY LONG: SLC AGO Convention, chapter 3 From: "Glenda" <gksjd85@direcway.com> Date: Thu, 03 Jul 2003 20:22:07 -0500   AN AMATEUR'S ORGAN PILGRIMAGE TO GOD'S COUNTRY   Chapter 3 - Tuesday, June 17   Tuesday morning found us walking up the hill again to St. Mark's, this time to hear Melvin Butler of Seattle and lately of Eastman School of Music. We gleaned the information that the windows flanking the altar were by Tiffany, that this was the third oldest cathedral in America still in use, and that the organ was a gift in honor of the church's centennial celebrated in 1967.   The program:   Praeludium in E major, BuxWV 141 - Buxtehude In quiet joy - Winges Mein junges Leben hat ein End - Sweelinck Fantaisie-Improvisation sur l' "Ave maris stella" - Tournemire From the Clavierubung III: (Bach) Prelude in E-flat major, BWV 552a 2 settings of Dies sind die heil'gen zehn Gebot': Canto fermo in Canone, BWV 678, and Fughetta, BWV 679 Fugue in E-flat major, BWV 552b   Butler was precise, with every note in its proper place ("no note served before its time"), and all runs and trills meticulous. At the same time there was nothing mechanical or boring about the Buxtehude. The Winges was of the better quality token twentieth century offerings, not as fraught with cliches. The sixths and thirds of the Sweelinck were picture-perfect, and the registrations were light.   The Tournemire turned out surprisingly well on the Holtkamp. I own some of his scores, but never bothered to learn them because I surmised I would never play in a venue where I could use them, with an organ big enough to do them justice. So I was pleased to hear Tournemire here. I wrote to myself in my journal, "To paraphrase the character played by Sam Neill in 'Hunt for Red October', as he lay dying ('I would like to have seen Montana'), 'I would like to have studied Tournemire.'"   Butler used the posaune as what I term his "pedal popper" in the St. Anne - it was so charming and brought several chuckles. He also utilized a nice strong bass underpinning that still allowed crisp pedal runs. The fugue was also nicely done, the quickening of pace in the last half was charmingly zippy.   Question: what stop on this organ would sound like an accordian?   I stayed after the recital for John Weaver's workshop on memorization. He informed us of the long-standing tradition at Curtis that requires each student to play a new piece from memory for his peers each week. He also began that tradition at Juilliard, requiring the students to perform at least one piece from memory per semester, although many do it more often. He stated that adroit readers may have the most trouble memorizing, and gave us ten reasons why to memorize and seven reasons not to. He was not helpful on how to go about memorizing, but did point out the three ways we memorize: sonic, motor and visual. His daughter is a minister at the Second Presbyterian Church in Indianapolis, and recites the Book of Mark to audiences, making it personal and real.   After class, Cynthia and I skipped James Drake's recital at the Tabernacle inasmuch as it was the same one he did on Sunday, and instead had lunch at the Garden Restaurant at the Joseph Smith Memorial Building, formerly the Hotel Utah. This is a lush and beautiful building housing among other things reception halls and ballrooms (particularly for all those Temple weddings), a room with an organ (discussed later) used for ward meetings, a family search library, a Mormon bookstore, and two fine restaurants. There is always live music in the lobby, piano solo or with other instruments. The restaurant has delectable entrees, bread and desserts. The baklava was delectable.   We also toured the Beehive House, Brigham Young's home next door to the Lion House. That is another story.   The 2:00 recital at the Conference Center was performed by Clay Christiansen, one of the Temple Square staff organists. I wrote to myself that the learning curve on the new organ must be steep as far as registration, because both he and Longhurst chose extremely sedate settings. The program:   Choral No. 3 in A minor - Franck An old melody: Ar hyd y nos - arr. Christiansen Come, come, ye saints Adagio and Allegro from Sonata on the 94th Psalm - Reubke   The Franck was well done, but Christiansen seemed to bobble or hesitate every time he opened up the expression pedal, as though he were afraid of being too loud. He did seem to be more amenable to the forte markings than Longhurst. The last movement he played from memory, and just as Weaver posited in his workshop Christiansen played much better, more comfortably and fluidly. I liked the ending. This is no mean organist - I bought a 2000 Klavier recording of Christiansen at the Tabernacle which is very good, and the same movements of the Reubke were as well done on the recording as I've heard anywhere by anyone. It's just that the two experiences are apples and oranges - Tabernacle vs. Conference Center, recorded vs. live performance before peers, and the familiar vs. the less familiar instrument. I'd like to hear him again on the same instrument in a year or two, but of course the Tabernacle organ still thrills more with that reverb.   The bookstores had no CDs of Richard Elliott, and indeed the Mormon girls did not know the names of any of the organists; therefore, I am sorry to report that the Temple Square organists are not "prophets accepted in their own country", to paraphrase the Good Book.   From the Conference Center we were bussed to the University of Utah, where we were treated to a recital at Libby Gardner Hall (Lively-Fulcher III/64, 2000) by the winners of the two regional competitions. First we heard from Aleksandr Kirillov, Region 8 winner and student of James David Christie. Aleksandr studied piano from the age of 7, and organ from the age of 11. Now about 20 yoa, he performed:   Symphony No. 3 - Vierne: Allegro maestoso Adagio   The first movement was played from memory, with great energy and accuracy; he made touch with the piece by having it under his fingers and in his head, and was not afraid of full organ. The Adagio was played with a score, heavily and sonorous - extremely lovely (this is really a favorite of Vierne's slow pieces, and he did it up well). The major drawback was Kirillov's stage presence - several people remarked how he needed lessons in taking a bow. He was stiff and uncomfortable. He is nevertheless another artist to watch for.   The star of the show, however, played next - Chelsea Chen, Region 9 winner. She is a student of John Weaver, a piano student who only began playing organ after a Pipe Organ Encounter five years ago. She chose the Durufle Suite, opus 5, some of my favorite music, and performed totally from memory. Damn it all - she is good. She was not afraid of the instrument, building up the prelude from mp to ff like a pro, then backing it down again. She exhibited an expressive posture throughout her presentation, and her stage presence needed no remediation - she won the crowd over with her winning smile. The Sicilienne was absolutely fluid, and faster than Virgil or Todd Wilson play it. No holds were barred on the Toccata - there is no rest for the weary during that movement, and she made it look like so much doll play. Her registration was impeccable. Weaver can be justly proud because she is a riveting performer already. The organ and space are very aggressive, totally appropriate for freight-train music - I could imagine the instrument wrestling many an unwary organist to the floor.   I was gratified to see young people playing this well, and felt that the organ's future may be a little more secure. I would travel to listen to either one of these "kids" anywhere and anytime.   I attended a workshop next door on "a graphic understanding of Bach's organ music: analysis as a key to understanding and performing the music of J.S. Bach". No offense to Dr. Bush, but I wish now I had attended the workshop on the works of Demessieux (Ken, how was that one?), about which I know little. I thought at the time I would like to see charts and graphs on Bach's music, but did not gain any new insights - that is what makes me an amateur, I guess. The algebra was fine - it was just all that damned analytical geometry that left me scratching my head. In my presentations, I have given up the bar graphs and pie charts (the students kept eating them), preferring Steve Martin's rubber chicken chart. Seriously, his premise was very sound, and one needs to sit down as he does and analyze what is going on in the music, what motifs are singing the melody, what metamorphoses occur in the melody, what secondary themes are lurking, and issues of that nature, in order to successfully convey the music.   We were whisked away to the U of Utah stadium for a banquet and regional meeting. I believe every AGO region was represented at the convention.   The icing on the cake that evening was a recital by Joyce Jones at the Libby Gardner Hall organ. Her program:   Final, from Symphony 8 - Widor Fantasy and Fugue in G minor, BWV 542 - Bach Fantasy in F minor, K. 608 - Mozart Pastorale in E major - Franck Final, from Symphony No. 6 - Vierne intermission Prelude et Danse Fuguee - Litaize Choral - Boulnois Fileuse, from Suite Bretonne - Dupre Last Judgment, from Symphonia Elegiaca - Van Hulse   This is Dr. Jones' fiftieth year of performing, and the year of her fiftieth wedding anniversary. My mother's motherliness is beginning to rub off on me. I am beginning to worry about the health of people I meet. The first half was just off - Joyce played much less than her best, and seemed pale. Her voice was more quavery and breathless than usual when she addressed her audience. I worried because I knew that she had had bypass surgery several months earlier. The pace was fast, as if she had a train to catch. All but one piece was entirely from memory. The Bach was a piece she played for her first AGO performance fifty years ago - the lighter passages of the fugue were a marvel to hear at that speed. The Mozart always conjures bittersweet memories for me, but she did not do as well with that as I wanted her to; ditto with the Widor.   HOWEVER, the second half was as close to a tour de force as I could have wished - she wrestled the demons and won. She had wooed the audience, and they were in her hands. She would make a great stand-up comic, and her utter genuineness both on and off the bench makes her a true inspiration to me - she is always approachable and never puts on airs; she is a Christian through and through and always willing to meet and greet. It sounds melodramatic, but it was true tonight - when she falls, the world groans with her; when she triumphs, the world rejoices. The sheer immensity of music under her fingers and in her head boggled my mind. I didn't write down the encores, but one was NOT "The Red Dragonfly" and one WAS the "Nun freut euch" which she claimed to be her first organ piece.   At this point I launched into theories regarding "old school" vs. contemporary performance technique. I even pulled out old Fox and Biggs recordings to compare as part of my argument. But hey, I remembered that I am just an amateur, and thankfully deleted all that stuff. Suffice it to say that Dr. Jones' technique uses little of the "heavy breathing" and phrasing (including internal between groups of sixteenth notes) that many of us are taught today, which sometimes makes her playing seem jumbled or out of control (particularly the baroque genre) when she is playing faster than the speed of sound. However, her technique also can have quite a devastatingly lovely effect, as in her recording of Pierne's Cantilene, where the left hand breaks very little, providing a refreshing continuity underlying the melody. Sometimes this is a necessary component for providing a unity to French guy music, such as Dupre and Langlais, and even Sowerby. I never liked Sowerby until I heard her play him, and she can play him or any freight-train music she chooses for me any time.   Another memorable day thus ended.   Glenda Sutton gksjd85@direcway.com