PipeChat Digest #3800 - Thursday, July 10, 2003
 
Re: VERY LONG:  SLC AGO - final chapter
  by "leora holcomb" <leh637@yahoo.com>
Re: Neo Baroque
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Re: the organ and the liturgy
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
 

(back) Subject: Re: VERY LONG: SLC AGO - final chapter From: "leora holcomb" <leh637@yahoo.com> Date: Wed, 9 Jul 2003 23:12:21 -0700 (PDT)   --0-1521368917-1057817541=3D:56688 Content-Type: text/plain; charset=3Dus-ascii   Glenda, thanks for your reviews of the AGO convention. It was almost like = being there, however, not enjoying all that music. Your reviews are = always interesting and I have to read all of them, like not being able to = put down a good book. Again, thanks. Lee   Glenda <gksjd85@direcway.com> wrote:AN AMATEUR'S ORGAN PILGRIMAGE TO GOD'S = COUNTRY   Fifth and Final Chapter - Thursday, June 19   I'm sure you can tell from my shrinking descriptions that we were winding down by this time. We were near saturation point with the wonderful programs provided; I'm sure I was staggering by this time. Cynthia swore I was humming "Come, come, ye saints" in my sleep at nights; I am certain it was only melodious snoring.   But there was more to come. Dr. Murray hosted a master class for four pieces played by area organists:   Vierne Toccata from Pieces de Fantaisie - Matthew Thompson Bach arr. Air from Suite in D - Alisa Rogers Bonnet Variations de Concert - Sharee Thompson Reubke Allegro from Sonata on the 94th Psalm - Eric Gundersen   Matthew Thompson was a gorgeous blonde guy with muscular build who looked as if he belonged as a tight end for the Brigham Young football team. Gundersen we had heard before (and his picture appears in the latest edition of the Diapason as one of the contenders in the recent Poister Competition), and Sharee Thompson was the second place winner in the Region 9 competition. All four subjects were nervous, but did well.     Murray was extremely sharp while being kind and nonconfrontational, giving them ideas of how to improve their delivery, with suggestions such as using different touches in different rooms, creating more violence and churning when called for, playing with the feet close to the pedals to save nanoseconds on delivery, considering other registrations, not prolonging the first note of an arpeggio or ritarding the middle of a theme, not dragging out ritardandos but starting them near the end, not blipping the staccato notes but making them articulate, and leaning toward a prominent pedal. He is a marvelous teacher, and I enjoyed the class much more than I thought I would. To one who may be reading - you know who you are (we've discussed this subject before) - you NEED to study with this guy; he's too good to pass up.   It was funny to me to see the young organists struggling to carry into effect Murray's suggestions. We all know what it is to commit a piece to memory, with all the articulation, registration, dynamics and whatnot in their proper pigeonholes, and suddenly to be asked to sweep that memory away and do it differently is all but impossible. Gundersen had a stubborn streak in him; he had analyzed the Reubke and had a pat answer for why he did certain things, and therefore was reluctant to change. He reminded me of myself and my stubborn and foolhardy streak with my teacher, incorporating the advice I liked and ignoring the rest. But Murray had an unerring sense of what could make each piece, already played well, better.   WARNING: Digression occurs here - you may wish to skip this paragraph. I pose the question: just how well should a student have a piece under his/her fingers and memory before playing it before the teacher? And how much introduction should a teacher give the piece to foreshadow the trouble spots? I have coached young piano and voice students, and know the utter frustration when it becomes obvious the student hasn't practiced. In fact, if I had a bad week at court, I would call and cancel the organ lesson with my teacher rather than waste his time and mine (of course, in my case a lesson involved not only money, but an investment of three hours' round-trip driving plus about 1-2 hours' practice before the 1 1/2 hour lesson - a half-day of annual leave plus about 6+ hours just for the lesson day, not counting the 1-3 hours per night practice after working all day). But sometimes it is harder to "unlearn" certain techniques than to be guided in the more effective method ahead of time. I just wonder if any pedagogues on the list have theories about this.   Anyway, to bring us back to the subject, the noon Tabernacle recital was given by Andrew Unsworth:   Praeludium in D minor - Bohm Vision (from 12 Characteristic Pieces) - Rheinberger Impromptu (from 12 New Church and Recital Pieces) - Dunham Come, come, ye saints An old melody: On Simple Gifts - Barrett Allegro from Symphony No. 6 - Widor   We tried the front center, row 4 this time. I was particularly moved with the Rheinberger and Widor on this organ.   Lunch was at Passages Restaurant at the Inn at Temple Square, with more of that homemade bread. I gotta quit doing this!   The 2:00 Conference Center recital featured Linda Margetts. Program:   Komm, heiliger Geist, Herr Gott, BWV 651 - Bach Triumphal march - Buck Intermezzo - Robertson Trumpet Voluntary in C major - Dupuis Come, come, ye saints An old melody: Crusaders' Hymn - Margetts Toccata from Suite, op. 70 - Creston   By this time I was on sensory overload, and could only manage to write, "She played well."   At this point the notes in my journal ceased. We did a knockout dinner at Spencer's, one of the top 10 steak restaurants in the U.S. It is a private club, so you have to pay for a temporary license to eat or drink there, and the steaks are a little pricey. But it was worth every penny to have great dead cow (as good as, but I would not say better than, Rick's steaks), salad, and asparagus with homemade bread, salty dogs, and coffee (thank you, Jesus!).   I told someone that prior to this trip, one list member from Utah promised to find us liquor, and another from D.C. promised to bring liquor. After no delivery on these promises, within 48 hours I found two excellent restaurants serving hard liquor, a state liquor store, a tattoo parlour and biker bar, all within four blocks of Temple Square. Never send amateurs to do what a Florida lawyer can do better - find vice and fun within walking distance of the Mormon Temple!   Cynthia and I were separated at the Conference Center, but we each managed to sit by local Mormons and gleaned much information during the inaugural concert. The program:   Symphonie Concertante, op. 81 - Jongen (Todd Wilson and Temple Square Orchestra) Praise to the Lord, the Almighty - arr. Wilberg Rejoice, O Virgin from the Vespers - Rachmaninoff Chichester Psalms - Bernstein Hallelujah Chorus from Mount of Olives - Beethoven Come, thou fount of every blessing - arr. Wilberg   All but the first was with the Mormon Tabernacle Choir and organists John Longhurst, Clay Christensen, and Richard Elliott. Words cannot describe the monumental job Todd Wilson did as ambassador for the organ. I noticed no distorted oboe section or whatever, but (1) I am an amateur, and (2) I was past saturation point on that score. I let the Jongen and the Bernstein wash over me like Niagara Falls - it was nothing short of wonderful.   One of the encores by the choir was a Nigerian piece that Rick and I had heard them sight read for the first time on our trip in May. They had learned it, "put the moves on it", and incorporated the percussion, and it was absolutely fun. They also pulled out the Battle Hymn of the Republic, and the a capella "God be with you 'til we meet again". I'm sure there was not a dry eye in the place.   Leaving the Conference Center I found myself walking beside our esteemed president Mr. Swann. I apologized for not earlier seeking absolution for my sin of not attending my own regional convention, and we had a nice chat about the conference and the upcoming Los Angeles National Convention. He has not had the opportunity to play the Conference Center organ, although he has performed in recital at the Tabernacle three times.   Following the concert was a gala rooftop reception replete with munchies and a Dixieland band. I spoke at some length to some of my newfound friends, including Michael Fox of the list. I ran into Todd Wilson and embarrassed myself and him by telling him how much I have drooled over his Durufle CD. Both Cynthia and I agreed that he appeared to have lost weight and looked haggard - more of my motherly instincts overreacting, I am sure. I bade my goodbyes.   The next morning we completed our ablutions and took an early morning shuttle to the airport for the trip home, exhausted but happy, except that Cynthia did not get to see the Great Salt Lake as we flew over it. On the plane to Dothan I sat next to one of our Army National Guard troops on his way home from a stint at Qatar. I almost fell asleep on the drive home from Dothan, and had to put on Cream and Stevie Ray Vaughn CDs and sing along to make it home. I fell asleep about 8:00 pm and did not stir for twelve hours - don't know if I snored or hummed "Come, come, ye saints".     Glenda Sutton gksjd85@direcway.com         "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         --------------------------------- Do you Yahoo!? The New Yahoo! Search - Faster. Easier. Bingo. --0-1521368917-1057817541=3D:56688 Content-Type: text/html; charset=3Dus-ascii   <DIV>Glenda, thanks for your reviews of the AGO convention.&nbsp; It was = almost like being there, however, not enjoying all that music.&nbsp; Your = reviews are always interesting and I have to read all of them, like not = being able to put down a good book.&nbsp; Again, thanks.&nbsp; = Lee<BR><BR><B><I>Glenda &lt;gksjd85@direcway.com&gt;</I></B> wrote: <BLOCKQUOTE style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: = #1010ff 2px solid; WIDTH: 100%">AN AMATEUR'S ORGAN PILGRIMAGE TO GOD'S = COUNTRY<BR><BR>Fifth and Final Chapter - Thursday, June 19<BR><BR>I'm sure = you can tell from my shrinking descriptions that we were<BR>winding down = by this time. We were near saturation point with the<BR>wonderful programs = provided; I'm sure I was staggering by this time.<BR>Cynthia swore I was = humming "Come, come, ye saints" in my sleep at<BR>nights; I am certain it = was only melodious snoring.<BR><BR>But there was more to come. Dr. Murray = hosted a master class for four<BR>pieces played by area = organists:<BR><BR>Vierne Toccata from Pieces de Fantaisie - Matthew = Thompson<BR>Bach arr. Air from Suite in D - Alisa Rogers<BR>Bonnet = Variations de Concert - Sharee Thompson<BR>Reubke Allegro from Sonata on = the 94th Psalm - Eric Gundersen<BR><BR>Matthew Thompson was a gorgeous = blonde guy with muscular build who<BR>looked as if he belonged as a tight = end for the Brigham Young football<BR>team. Gundersen we had heard before = (and his picture appears in the<BR>latest edition of the Diapason as one = of the contenders in the recent<BR>Poister Competition), and Sharee = Thompson was the second place winner in<BR>the Region 9 competition. All = four subjects were nervous, but did well.<BR><BR><BR>Murray was extremely = sharp while being kind and nonconfrontational,<BR>giving them ideas of how = to improve their delivery, with suggestions<BR>such as using different = touches in different rooms, creating more<BR>violence and churning when = called for, playing with the feet close to<BR>the pedals to save = nanoseconds on delivery, considering other<BR>registrations, not = prolonging the first note of an arpeggio or ritarding<BR>the middle of a = theme, not dragging out ritardandos but starting them<BR>near the end, not = blipping the staccato notes but making them<BR>articulate, and leaning = toward a prominent pedal. He is a marvelous<BR>teacher, and I enjoyed the class much more than I thought I would. To<BR>one who may be reading = - you know who you are (we've discussed this<BR>subject before) - you NEED = to study with this guy; he's too good to pass<BR>up.<BR><BR>It was funny = to me to see the young organists struggling to carry into<BR>effect = Murray's suggestions. We all know what it is to commit a piece<BR>to = memory, with all the articulation, registration, dynamics and whatnot<BR>in their proper pigeonholes, and suddenly to be asked to sweep = that<BR>memory away and do it differently is all but impossible. Gundersen = had<BR>a stubborn streak in him; he had analyzed the Reubke and had a = pat<BR>answer for why he did certain things, and therefore was reluctant = to<BR>change. He reminded me of myself and my stubborn and foolhardy = streak<BR>with my teacher, incorporating the advice I liked and ignoring = the rest.<BR>But Murray had an unerring sense of what could make each = piece, already<BR>played well, better.<BR><BR>WARNING: Digression occurs here - you may wish to skip this paragraph.<BR>I pose the question: just = how well should a student have a piece under<BR>his/her fingers and memory = before playing it before the teacher? And<BR>how much introduction should = a teacher give the piece to foreshadow the<BR>trouble spots? I have = coached young piano and voice students, and know<BR>the utter frustration = when it becomes obvious the student hasn't<BR>practiced. In fact, if I had = a bad week at court, I would call and<BR>cancel the organ lesson with my = teacher rather than waste his time and<BR>mine (of course, in my case a = lesson involved not only money, but an<BR>investment of three hours' = round-trip driving plus about 1-2 hours'<BR>practice before the 1 1/2 hour = lesson - a half-day of annual leave plus<BR>about 6+ hours just for the = lesson day, not counting the 1-3 hours per<BR>night practice after working = all day). But sometimes it is harder to<BR>"unlearn" certain techniques = than to be guided in the more effective<BR>method ahead of time. I just wonder if any pedagogues on the list = have<BR>theories about this.<BR><BR>Anyway, to bring us back to the = subject, the noon Tabernacle recital was<BR>given by Andrew = Unsworth:<BR><BR>Praeludium in D minor - Bohm<BR>Vision (from 12 = Characteristic Pieces) - Rheinberger<BR>Impromptu (from 12 New Church and = Recital Pieces) - Dunham<BR>Come, come, ye saints<BR>An old melody: On = Simple Gifts - Barrett<BR>Allegro from Symphony No. 6 - Widor<BR><BR>We = tried the front center, row 4 this time. I was particularly moved<BR>with = the Rheinberger and Widor on this organ.<BR><BR>Lunch was at Passages = Restaurant at the Inn at Temple Square, with more<BR>of that homemade = bread. I gotta quit doing this!<BR><BR>The 2:00 Conference Center recital = featured Linda Margetts. Program:<BR><BR>Komm, heiliger Geist, Herr Gott, = BWV 651 - Bach<BR>Triumphal march - Buck<BR>Intermezzo - = Robertson<BR>Trumpet Voluntary in C major - Dupuis<BR>Come, come, ye = saints<BR>An old melody: Crusaders' Hymn - Margetts<BR>Toccata from Suite, op. 70 - Creston<BR><BR>By this time I = was on sensory overload, and could only manage to write,<BR>"She played = well."<BR><BR>At this point the notes in my journal ceased. We did a = knockout dinner<BR>at Spencer's, one of the top 10 steak restaurants in = the U.S. It is a<BR>private club, so you have to pay for a temporary = license to eat or drink<BR>there, and the steaks are a little pricey. But = it was worth every penny<BR>to have great dead cow (as good as, but I = would not say better than,<BR>Rick's steaks), salad, and asparagus with = homemade bread, salty dogs,<BR>and coffee (thank you, Jesus!).<BR><BR>I = told someone that prior to this trip, one list member from = Utah<BR>promised to find us liquor, and another from D.C. promised to = bring<BR>liquor. After no delivery on these promises, within 48 hours I = found<BR>two excellent restaurants serving hard liquor, a state liquor = store, a<BR>tattoo parlour and biker bar, all within four blocks of Temple Square.<BR>Never send amateurs to do what a Florida lawyer can do better = - find<BR>vice and fun within walking distance of the Mormon = Temple!<BR><BR>Cynthia and I were separated at the Conference Center, but = we each<BR>managed to sit by local Mormons and gleaned much information = during the<BR>inaugural concert. The program:<BR><BR>Symphonie = Concertante, op. 81 - Jongen (Todd Wilson and Temple = Square<BR>Orchestra)<BR>Praise to the Lord, the Almighty - arr. = Wilberg<BR>Rejoice, O Virgin from the Vespers - Rachmaninoff<BR>Chichester Psalms - Bernstein<BR>Hallelujah Chorus from Mount of Olives - = Beethoven<BR>Come, thou fount of every blessing - arr. Wilberg<BR><BR>All = but the first was with the Mormon Tabernacle Choir and organists<BR>John = Longhurst, Clay Christensen, and Richard Elliott. Words cannot<BR>describe = the monumental job Todd Wilson did as ambassador for the organ.<BR>I = noticed no distorted oboe section or whatever, but (1) I am an<BR>amateur, = and (2) I was past saturation point on that score. I let the<BR>Jongen and the Bernstein wash over me = like Niagara Falls - it was<BR>nothing short of wonderful.<BR><BR>One of = the encores by the choir was a Nigerian piece that Rick and I had<BR>heard = them sight read for the first time on our trip in May. They had<BR>learned = it, "put the moves on it", and incorporated the percussion, and<BR>it was = absolutely fun. They also pulled out the Battle Hymn of the<BR>Republic, = and the a capella "God be with you 'til we meet again". I'm<BR>sure there = was not a dry eye in the place.<BR><BR>Leaving the Conference Center I = found myself walking beside our esteemed<BR>president Mr. Swann. I = apologized for not earlier seeking absolution<BR>for my sin of not = attending my own regional convention, and we had a<BR>nice chat about the = conference and the upcoming Los Angeles National<BR>Convention. He has not = had the opportunity to play the Conference<BR>Center organ, although he = has performed in recital at the Tabernacle<BR>three times. <BR><BR>Following the concert was a gala rooftop reception replete = with munchies<BR>and a Dixieland band. I spoke at some length to some of = my newfound<BR>friends, including Michael Fox of the list. I ran into Todd = Wilson and<BR>embarrassed myself and him by telling him how much I have = drooled over<BR>his Durufle CD. Both Cynthia and I agreed that he appeared = to have lost<BR>weight and looked haggard - more of my motherly instincts = overreacting,<BR>I am sure. I bade my goodbyes.<BR><BR>The next morning we = completed our ablutions and took an early morning<BR>shuttle to the = airport for the trip home, exhausted but happy, except<BR>that Cynthia did = not get to see the Great Salt Lake as we flew over it.<BR>On the plane to = Dothan I sat next to one of our Army National Guard<BR>troops on his way = home from a stint at Qatar. I almost fell asleep on<BR>the drive home from = Dothan, and had to put on Cream and Stevie Ray<BR>Vaughn CDs and sing = along to make it home. I fell asleep about 8:00 pm<BR>and did not stir for twelve hours - don't know if I snored or = hummed<BR>"Come, come, ye saints".<BR><BR><BR>Glenda = Sutton<BR>gksjd85@direcway.com<BR><BR><BR><BR><BR>"Pipe Up and Be = Heard!"<BR>PipeChat: A discussion List for pipe/digital organs &amp; = related topics<BR>HOMEPAGE : http://www.pipechat.org<BR>List: = mailto:pipechat@pipechat.org<BR>Administration: = mailto:admin@pipechat.org<BR>Subscribe/Unsubscribe: = mailto:requests@pipechat.org<BR><BR></BLOCKQUOTE></DIV><p><hr SIZE=3D1> Do you Yahoo!?<br> <a = href=3D"http://us.rd.yahoo.com/search/mailsig/*http://search.yahoo.com">The= New Yahoo! Search</a> - Faster. Easier. Bingo. --0-1521368917-1057817541=3D:56688--  
(back) Subject: Re: Neo Baroque From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Thu, 10 Jul 2003 07:26:03 +0100 (BST)   Hello,     I have often pondered the "problem" of organ recitals and, in the pondering thereof, I came to a number of conclusions.   If we skip back only a couple of generations, younger people were exposed to the organ much more than they are to-day. In the first instance, people attended church more frequently. In the second instance, the entertainment organ was very much in vogue; whether that be a Hammond or a Wurlitzer.   Thus, the organ covered a wider spectrum of music than it does to-day and was heard across the entire social-strata. In America, the organ was (and probably still is) a feature of baseball events, which is something which has never caught on for sporting events in the UK or in the rest of Europe.   With a decline in church attendance and the growth of electronic music in the popular music fields, the exposure to organ sound is now quite infrequent unless one happens to be an academic organist or academic listener.   So perhaps we should not expect popularity. The organ is now in a niche, like the harpsichord, the acoustic guitar and the lute.   Of course, in Holland, I will see big audiences listening to superb organs in a few weeks time....and quite why this should be remains a mystery.   It's the oomiboo factor again!   Regards,   Colin Mitchell UK   --- Bruce Cornely <cremona@cervo.net> wrote: > ---------- Original Message > ---------------------------------- > From: Del Case <dcase@puc.edu> > > Its OK not to like neo-Baroque organs. But please > don't blame them > for things that are not their fault. >     ________________________________________________________________________ Want to chat instantly with your online friends? Get the FREE Yahoo! Messenger http://uk.messenger.yahoo.com/  
(back) Subject: Re: the organ and the liturgy From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Thu, 10 Jul 2003 07:52:40 +0100 (BST)   Hello,   What key is Parry's "I was glad" in?   It's so long since I sang it or accompanied it, I cannot remember.   I recall fairly screeching away at the top note when I was but a small wart.   I could, at that time, sing E above top C!!!!!! The choirmaster delighted in writing double descants utilising my top "E's"   This made me many friends, all with long tails and fur coats.   Of course, I wonder how many people recall the famous recording of the Allegri "Misery" sung by the choir of King's College Cambridge? (1960's?)   The soloist on that recording was the son of Peter Goodman, who was the City Organist at Hull City Hall.   Roy Goodman is fairly well known I think!!   Regards,   Colin Mitchell UK     --- quilisma@socal.rr.com wrote: > There ARE no high Cs in Anglican choral music     ________________________________________________________________________ Want to chat instantly with your online friends? Get the FREE Yahoo! Messenger http://uk.messenger.yahoo.com/