PipeChat Digest #3838 - Tuesday, July 29, 2003 OHS 2003 - Third Full Day by "Malcolm Wechsler" <email@example.com> Re: Allen or Rodgers? by <Swedish5702@aol.com> RE: Allen or Rodgers? by "Patrick Kujawa" <firstname.lastname@example.org> live chat on IRC tonight at 9 p.m. US Eastern Time by <email@example.com> The Wicks in question... by <TubaMagna@aol.com> Re: Rodgers/Ruffatti by <RMB10@aol.com> Wayne Dirksen Obituary by <DudelK@aol.com> Re: Warm Ruffattis by <RMB10@aol.com> Re: Allen or Rodgers? by <Swedish5702@aol.com> Re: Allen or Rodgers? by <RonSeverin@aol.com> Organ Music on the Internet - xpost by "Brent Johnson" <firstname.lastname@example.org> organclassifieds.com by <Gfc234@aol.com>
(back) Subject: OHS 2003 - Third Full Day From: "Malcolm Wechsler" <email@example.com> Date: Mon, 28 Jul 2003 18:52:40 -0400 Vaughn Watson, Sunday, June 22, at 3:30 - Hanover, PA Basilica of the Sacred Heart "Conewago Chapel" This was a gentle day, beginning with the always highly civilized Annual Meeting of the Organ Historical Society in the hotel at 9 a.m. We are, after all, a civilized lot. From this meeting, one can always learn a great deal about the workings of the Society, and of the great scope of its influence and importance to us and to our chosen instrument. Michael Barone, no stranger to anyone reading this, passed the office of president on to Michael Friesen, who will continue the other Michael's always wise and steady shepherding of the organization. I note with pleasure, as I have been able to do in the past, the large number of members interested enough to awaken early to attend the proceedings. Some slipped away at the Holy Hour of 11:00 to attend church in downtown Harrisburg. After a good lunch at the hotel, and, for most, a relaxing post-prandial bus ride, we reached the historic "Conewago Chapel," or really, The Basilica of the Sacred Heart in Hanover, PA. "Conewago" comes from a settlement near the St. Lawrence River in Canada, and a similarly named creek that runs somewhere near the church, for whatever that is worth. The present, impressive, building was finished in 1787, and was then the largest church yet built in the United States. It now is able to be called the oldest Catholic church in the U. S. built of stone. Neither the acoustic nor the Organ are shy. This was a church of The Jesuits until they turned it over to the Diocese of Harrisburg in 1901. Looking at the stop list of this ten stop Hook & Hastings instrument, Opus 1866 of 1900, one has to ask whence cometh this wall of sound. The Great has four stops, an Open Diapason, possibly the scale of a smoke stack on the Queen Mary, a Viola da Gamba, a Doppelfloete, all these at 8' pitch, and a 4' Octave. The Swell has five stops, a Violin Diapason, a Stop'd Diapason, and a Salicional, all at 8', and a 4' Flute Harmonique. There is an 8' Trumpet, for reasons unspecified, not the original, but a Hook & Hastings replacement. Tremulant, of course. The sole Pedal stop is a large Open Diapason, 16', Oh, and there is an intermanual supercoupler! Vaughan Watson is a graduate of Fordham University, and has been for a number of years an Organ student of William Entriken at First Presbyterian Church in Manhattan. Since 1992, he has been Director of Music at Abiding Presence Lutheran Church in Fort Salonga on Long Island. His 3:30 recital began with a Prelude, from Three Pieces for Organ, Opus 29, of Gabriel Pierne (1863-1937), who studied with Franck, and then followed him at St. Clothilde. This lovely piece is one of Pierne's few published Organ works. He was kept quite busy as an orchestral conductor. This was our first acquaintance with the huge sound coming out of this small instrument. Two Brahms Choral Preludes from Opus 122. "Lo, how a Rose," wherein that only 16' in the Pedal being so powerful really does show. Herziebster Jesu, lovely in this space and on this instrument. Looking at the specification, one sees (and hears) the beauty of the five relatively quiet 8' stops, not, of course, counting the Open Diapason in that. This all served both Brahms works wonderfully well. I guess, to keep historical perspective intact, we do occasionally need to hear a bit of Lefebure-Wely, who, unlike Pierne, wrote entirely too much! The Sortie in E Flat is totally typical, and all I wrote in my notes was the not very helpful "Lord, have mercy!" I will pass the buck over to John Henderson, and strongly suggest that you read his short essay on Lefebure-Wely in his indispensable "Directory of Composers for Organ." It puts the man and his music well in context. www.ohscatalog.org I was pleased when the Sortie ended, and we were able to move on to a lovely C. S. Lang "Prelude," a sweet piece, from which one can know that Lang studied with C. V. Stanford. Nice stuff. Hymn: "Most Sacred Heart of Jesus," a highly sentimental-sounding tune by a Jesuit, just identified as Fr. Maher, S.J. It was actually fun to do, as we got to sing all four stanzas in harmony, in this resonant space. Move over, Motab Choir! From "Six Little Fugues" of Handel, we heard Nos. 3 and 5, both in D Major. I don't own or know these pieces, part of the very little music for solo Organ left us by Handel. I thought they might have been Harpsichord pieces, and might best have remained so, that from a lover of just about all things Handel! There is a set of Six Fugues or Voluntaries for Organ, published in 1735, and perhaps these Fugues are from that set, thus being genuinely for Organ. Returning briefly to St. Clothilde, we heard, from Three Characteristic Pieces of Langlais: 1. Pastoral - Prelude, an absolutely charming work, and then the lovely and introspective Interlude, both perfect choices for the Organ and the space. Last on the program, "Variations sur un Noel Bourguignon," by Andre Fleury (1903-1995). Fluery's music is not played as much as it might be. I believe I have heard Thomas Murray play these variations, but that is all. Fleury continues our contact with St. Clothilde, as this is where he began his career. In 1971, he became Co-Organist with Jean Guillou at St. Eustache, and survived that experience for many years. I really cannot remember at all why - I should have made a note on it - but my notes say that at the end of the program, we sang "Faith of our Fathers, all in unison." I guess it was a special favor to someone. Anyway, unison sounded quite o.k. in this building. This was an interesting program, a nice way to spend a Sunday afternoon. There were nervous moments, but all in all, this was very nicely done, and one is grateful for the chance to hear some music "less traveled." Having stupidly forgotten to bring with me the trickle charger for my cellphone, I actually drove to the events of this day, easy to do, given the relaxed nature of the day. I did have my car charger for the cellphone, and so ended the day full of energy! Everyone else, at this point, got a relaxing and short bus ride to St. Mark's Lutheran Church in Hanover, which we visited just for a very nice church supper. Mike Noble, whom I have known for several years, is at this church, so it was nice to visit with him over dinner. We were well looked after here, which gives me another chance to point out that, while registration for OHS conventions is a bit higher than is the case with AGO conventions, all meals are looked after, and this is a great saving in time and energy for convention-goers, and the food is always well done. Usually, on perhaps one occasion during a convention, when we are at concerts in the downtown area of a large city, we might have lunch on our own. This is usually a nice chance to explore restaurants in the area, of which we are always given a good list with directions. This happened once during this week, and it was indeed a nice experience. Now, on to New Freedom - sounds good to me. James Hildreth, Sunday, June 22, 2003 - 7:00 p.m. St. John the Baptist R. C., New Freedom, PA Since 1987, Mr. Hildreth has been Organist at Broad Street Presbyterian Church, Columbus, Ohio. He is also Organist for the Columbus Symphony Orchestra. I believe this is his first performance for an OHS Convention, and I hope not his last. In a church packed with both conventioneers and many members of the parish and/or the larger public, he gave a performance that really satisfied all, both us super smart consumers of Organs and Organ music, and those who have very little acquaintance with the stuff. We were beguiled by our interest in his chosen program, and by the total competence of his playing, and others perhaps less familiar with the Organ and its repertoire will have also responded to his spoken comments. Well, we did too. As at our opening recital by Erik Suter, we were hearing an instrument that managed reasonably well to overcome the lack of acoustical excitement in a plushly carpeted room. The Organ is Opus 2024 (1904) of Hook & Hastings, relocated and rebuilt by R. J. Brunner & Company, purveyors of much Organic good in this part of the world. They chose to convert the old Tubular Pneumatic action to an electric action, which made it possible to make the console moveable within the small space of the choir area. This Organ is not small, with 26 stops on two manuals. Given the great numbers of parishioners present, one would assume that Organ recitals here have been popular. The program began with a solid and exciting performance of the Guilmant Grand Choeur (Alla Handel), Opus 18, No. 1, our first experience of the really exciting full sound of this instrument. Two Orgelbuechlein chorals, <Ich ruf zu dir> and <Wenn wir in Hoechsten Noethen sein> gave us a taste of what, particularly in Ich ruf, was some of the most interesting and stylish (and stylistically convincing) ornamentation I have yet heard. Goodness knows, I have heard a lot! One of Mr. Hildreth's goals in this recital was to show off the tonal resources of the Organ. The Great Trumpet shone well in Trumpet Voluntary in D, John Bennett. Here followed a totally satisfying performance of the Prelude & Fugue in G Major, of Mendelssohn. The three Preludes and Fugues of Opus 37 don't get out as often as the Sonatas, but they deserve better treatment. The G Major is arguably the best of the lot. Intermission I did not know Souvenir (Opus 27, No. 1), Marcel Dupre, part of a set of seven pieces, published in 1931. Now I do, and I am grateful. Nocturne, Arthur Foote. Every once in a while, there is room in one's life for a bit of Boston's Arthur Foote (1853-1937), lightweight though it be. This was a fun little fillip in the context of an eclectic sort of program - fun for all. Speaking of fun, the Thunderstorm, of Thomas P. Ryder, or more completely, Thomas Philando Ryder (work on that, if you will), set us all a-giggle. No Orage pedal in sight, we had Pedal clusters in abundance. According to John Henderson, this work was one of the earliest American pieces to include tone clusters as well as half-drawn stops. With this instrument's electro-pneumatic stop action, the latter were not possible, but somehow, Mr. Hildreth did indeed make do, and the audience went a bit wild when it was over. Ryder was, by the way, for many years Organist & Choirmaster at Tremont Temple in Boston. What could be more perfect as a closing piece than Festival Toccata of Percy Fletcher (1879-1932), a British theatrical director? It only works if it is performed with complete control and panache. Have no doubt, it was indeed, a lovely ending to another "Maketh the heart glad" recital - not that it was quite over yet! We sang the hymn, "By all your saints still living," to the tune, St. Theodulph. To me, that tune is always "All glory, laud, and honor," but I am not too old to change. The "By all your saints" text done here, would, in my church, be sung to the grand tune King's Lynn, a wonderful tune adapted by Vaughan Williams. We sang it here in honor of the Feast of St. John the Baptist, the saint of the parish's name, whose day was to be the coming Tuesday. There was an insert special text for old John, replacing verse two. We were given the harmony, and we ran with it. We ended the evening with a breathtaking improvisation, merging the tune St. Theodulph with Ut Queant Laxis, the hymn of St. John the Baptist, clever and wonderful in every way. What a great recital. I do hope we get to hear Mr. Hildreth again, and even yet again! Malcolm Wechsler www.mander-organs.com
(back) Subject: Re: Allen or Rodgers? From: <Swedish5702@aol.com> Date: Mon, 28 Jul 2003 18:56:37 EDT Ask Chris Elliott about his Allen Pipe combo.
(back) Subject: RE: Allen or Rodgers? From: "Patrick Kujawa" <firstname.lastname@example.org> Date: Mon, 28 Jul 2003 18:12:31 -0500 Who's Chris Elliott? Patrick -----Original Message----- From: email@example.com [mailto:firstname.lastname@example.org]On Behalf Of Swedish5702@aol.com Sent: Monday, July 28, 2003 5:57 PM To: email@example.com Subject: Re: Allen or Rodgers? Ask Chris Elliott about his Allen Pipe combo.
(back) Subject: live chat on IRC tonight at 9 p.m. US Eastern Time From: <firstname.lastname@example.org> Date: Mon, 28 Jul 2003 16:16:42 -0700 Directions: pipechat homepage. See you there! Bud
(back) Subject: The Wicks in question... From: <TubaMagna@aol.com> Date: Mon, 28 Jul 2003 19:14:39 EDT Gee, fellas, I don't know. My eldest brother, through a contact in the recording industry whose wife worked for the contractor gutting the hall, said that the instrument was available SEVERAL MONTHS AGO. I immediately called the institution in question, and was brusquely rebuffed with the haughty statement, "Thank you for your interest, but the instrument is in the hands of 'an exclusive broker,' who is perfectly capable of handling its sale and placement." In other words, I was told to keep away and stay away. Not my gig. Not my "sale." Not my place. By the time I was able to examine the organ, through the fortunate intervention of a clergyman, they were ready to begin destruction, and the administrator of the organization has refused to return my manager's calls. MANY calls. I guess the "exclusive broker" has "handled" it. Since these various chat lists described the miraculous 1890 Roosevelt I tried to save as "a piece of junk that would have been saved by now had it been worth a damn" and "proof that digitals are the real thing," I should have known better than to even mention it. Statements like that indicate that organists obviously want this kind of thing to happen. And guess what? They MAKE it happen. Sebastian M. Gluck New York City
(back) Subject: Re: Rodgers/Ruffatti From: <RMB10@aol.com> Date: Mon, 28 Jul 2003 19:29:14 EDT My church signed a contract for a new 5 manual Ruffatti through Daffer Organs, who is the Rodgers dealer for a good portion of the Mid-Atlantic = and coastal South. I think that is the organ that Tim Newby is actually speaking of = in his post. I asked about the Rodgers/Pinchi connection and how Ruffatti = played into things and it was explained to me that some of the largest Rodgers dealers are representing Ruffatti separately from Rodgers, and that if = they do a pipe combination, they use Ruffatti. The other Rodgers dealers are using = Pinchi. It's kind of confusing to me. Maybe Dan Miller or one of the other = Rodgers people can explain it in more depth. Anyway, we are excited about our Ruffatti (all 165+ stops of it!!!) and can't wait until it's installed. = Just to clarify, however, we did most of our dealings directly with Francesco and = Piero Ruffatti. The dealer we worked with arranged for us to travel to see some = new Ruffatti installations and also came to the church to do the contract = signing. Our architect, who is a member of the choir at the church, has been = working directly with the Ruffattis for chamber layout and facade design. I = worked with Francesco to come up with the tonal design. Monty Bennett Friendship Missionary Baptist Church Charlotte, NC
(back) Subject: Wayne Dirksen Obituary From: <DudelK@aol.com> Date: Mon, 28 Jul 2003 19:37:33 EDT An obituary has been posted at http://www.cathedral.org/cathedral/news/dirksen.shtml. A man of prodigious talent and seemingly boundless energy, it may be well said of him that he was a musician AND a gentleman. May he rest in peace, although I venture that his idea of "peace" may include organ and choir and brass and drums and all manner of celebration.
(back) Subject: Re: Warm Ruffattis From: <RMB10@aol.com> Date: Mon, 28 Jul 2003 19:41:25 EDT Tyler Robertson wrote: >I have not heart Spivey Hall, but if that >organ is warm in character, then that must have been something = specifically >asked for. I am at Baylor University where we have, among 4 other >performance organs, a 65 rank Ruffatti. I'll tell ya one thing, warm is = the >last word I would ever consider using with that instrument! Spivey Hall's Ruffatti was the first of the "new" Ruffattis I heard in the = early 1990's. I grew up in San Francisco, where I knew the St. Mary's = Cathedral organ, St. Bridgid's Catholic Church, Davies Hall, 1st Pres. Berkley, as = well as the Crystal Cathedral, and having family in Ft. Lauderdale, I also had heard and played Coral Ridge. I knew them for being very firey, = aggressive organs. It was a sound that was novel to me, since I grew up playing a = 1906 Murray Harris organ. Spivey Hall changed my ideas about what Ruffattis sounded like. While the = reeds are full of life, the rest of the organ just sings. It has colorful = flutes, rich strings, and beautiful principals. I also had the = opportunity to play the Ruffatti at St. Joseph's Church, Garden City, NY, during the AGO convention there, and it was very much in the same style as Spivey. When we were looking at builders, Ruffatti was my first choice. They sent = us to hear the organ at Church of the Epiphany, Miami, and we were sold on it = immediately. In fact, the decision to go with Ruffatti was made on our = trip there. We got back from Florida and called them to tell them that we were = ready to start discussing the design of the organ. Epiphany is one of the smoothest, lushest, most gorgeous new instruments = I've ever played. It is beefy, round and warm without being tubby. It's very silvery, but not screechy. The reeds are smooth and full, the flutes each have individual character. = The mixtures top off a chorus, but don't obliterate it. This is the kind = of work Ruffatti is doing these days. Francesco prefers to build this type of an instrument. One that is = powerful, but that doesn't assault your ears. Their new work is very exciting. I'm heading to Kansas City in about 6 weeks to hear the dedication of the = new Ruffatti there. I'm told it's very much in the same style as Epiphany. I = can't wait to see and hear it for myself. Monty Bennett Friendship Missionary Baptist Church Charlotte, NC
(back) Subject: Re: Allen or Rodgers? From: <Swedish5702@aol.com> Date: Mon, 28 Jul 2003 20:47:23 EDT One of the finest theatre organists today. Plus he is chief organist for a = large church in California. You can read about the organ at www.allenorgans.com
(back) Subject: Re: Allen or Rodgers? From: <RonSeverin@aol.com> Date: Mon, 28 Jul 2003 21:50:42 EDT Hi dale: Not the one's in CA. I have heard some of these installations, and they leave a lot to be desired. Unfinished pipes, no pipe tracking, and too loud. St. Catherine of Siena in Laguna is a prime example. No bass octave, but white noise suffices in the bottom octave. Nothing blended, and very poor. Sorry, but I can't let you get away with a blanket statement. It was a 755 Rodgers stop tab, and it was better to leave the pipes off. There were many late or dead notes. Not a good situation. I'm sure later installations have to be better than = this. Experience is not always the best teacher, especially if you don't go back to make things right. So I challenge your statement about experience, it simply doesn't stand the test of time. This was one of many done in the 80's the late 80's. There were two ranks of pipes, principal and stopped flute TC 49 pipes at 8'4'2'. I simply couldn't use them. No I don't work for anybody else, this is what I found there. Ron Severin
(back) Subject: Organ Music on the Internet - xpost From: "Brent Johnson" <email@example.com> Date: Mon, 28 Jul 2003 22:13:46 -0500 Reading Jon Nisbet's latest AGOnLine article, I was happy to see some attention drawn to PipeDreams, one of my favorite radio programs of all-time. He points out that PipeDreams has improved the quality of their archived broadcasts, but that there is a danger that PipeDreams may be relegated to a internet pay service to keep it in production. It makes for a great read, as his column always does. I didn't start writing to talk about PipeDreams, however, but I did want to talk about organ music on the internet. I put together a streaming audio presentation of organ music for a builder some time ago, so that web users could listen, even while browsing sites other than the site the music was originating from. Listeners seemed to appreciate it, but I didn't know how well it was going over until space and bandwith restrictions ceased its operation. The amount of email pouring in asking when the streaming organ music would return was overwhelming. Because of this, a project to bring streaming organ music to internet users for free has been started. Under the name ORGANLive, we are currently seeking assitance for this independent new project. I won't put all the details in this email, rather direct you to the ORGANLive website to read more about it. [ http://www.organclassifieds.com/organlive ] At this point, we are soliciting music to begin broadcasting, both amatuer and professional recordings, as well as advertisers to help pay for the space and bandwidth. More information can be found at the ORGANLive website at http://www.organclassifieds.com/organlive, or you can email me at firstname.lastname@example.org with comments or questions. Thanks!. Brent Johnson The Organ Classifieds http://www.organclassifieds.com The Organ Web Ring http://www.geocities.com/organwebring
(back) Subject: organclassifieds.com From: <Gfc234@aol.com> Date: Tue, 29 Jul 2003 01:47:27 EDT Hello All, I was just browsing the organ classifieds and noticed a few fine vintage tracker instruments, particularly a 2 manual Hook and Hastings. Just a = heads up for those needing an instrument. They are very affordable. Take a look! Gregory Ceurvorst M.M. Organ Performance Northwestern University Director of Music and Organist St. Peter's U.C.C. Frankfort, IL 815.756.6632 home 708.243.2549 cell <A HREF=3D"email@example.com">firstname.lastname@example.org</A>