PipeChat Digest #3572 - Wednesday, March 26, 2003
 
Re: Anglican organs and registration aids
  by "r" <basset3@hvc.rr.com>
Toestuds: useful or not?
  by <TubaMagna@aol.com>
Re:  What's In a Name?
  by "Alan Freed" <acfreed0904@earthlink.net>
name of publisher...
  by "Hugh Drogemuller" <hdrogemuller@sympatico.ca>
Allen Organs And Toe Studs
  by <Devon3000@aol.com>
Re: name of publisher...
  by "M Fox" <ophicleide16@direcway.com>
Re: name of publisher...
  by "Stephen Best" <sbest@borg.com>
Re: British organ builders of influence
  by "Alan Freed" <acfreed0904@earthlink.net>
Olivier Latry
  by "Glenda" <gksjd85@direcway.com>
Re: Olivier Latry
  by "Malcolm Wechsler" <manderusa@earthlink.net>
 

(back) Subject: Re: Anglican organs and registration aids From: "r" <basset3@hvc.rr.com> Date: Tue, 25 Mar 2003 07:57:48 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_004F_01C2F2A4.3A536F20 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   I am reminded of Organ 101 the first year I started back in the stone =3D age. "The pedal pistons are a duplicate of the keyboard pistons so that = =3D one has alternative means of changing registration using whatever thumb = =3D or foot might be available. Plan your piston changes ahead and mark =3D them in your music." I remember full-fingered chords and a registration = =3D change needed before the final two - just use a toe stud and mark it. =3D Then you practice making the change over and over until you're sure to =3D hit the correct toe stud without looking. "If you can operate a clutch, = =3D a brake, the gear shift, the gas pedal in your car (stone age =3D transport) and fiddle with the radio all at the same time, you can learn = =3D to use the pedal pistons as well." =3D20   I've seen Felix lean way back and take a sideways glance at the toe =3D pistons making sure he's aiming for the correct one all the while his =3D fingers are flying. I've also seen Diane Bish lift her right hand =3D manicured index finger and "glissando" it across the entire spectrum of = =3D couplers to pedal for the final chord blast. And on a closing note, =3D Dorothy Papadakos (?) has a power ranger with rubber legs straddling two = =3D powerful reeds--she pulls on its head and both activate at once. That's = =3D my 2 cents on a beautiful spring morning in lower New York state. Robert Clooney ------=3D_NextPart_000_004F_01C2F2A4.3A536F20 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><HEAD> <META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D charset=3D3Diso-8859-1"> <META content=3D3D"MSHTML 6.00.2800.1141" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT face=3D3DArial size=3D3D2>I am reminded of Organ 101 the first = =3D year I started=3D20 back in the stone age.&nbsp; "The pedal pistons are a duplicate of the =3D keyboard=3D20 pistons so that one has alternative means of changing registration using = =3D   whatever thumb or foot might be available.&nbsp; Plan your piston =3D changes ahead=3D20 and mark them in your music."&nbsp; I remember full-fingered chords and = =3D a=3D20 registration change needed before the final two - just use a toe stud =3D and mark=3D20 it.&nbsp; Then you practice making the change over and over until you're = =3D sure to=3D20 hit the correct&nbsp;toe stud without looking.&nbsp; "If you can operate = =3D a=3D20 clutch, a brake,&nbsp; the gear shift, the gas pedal in your car (stone = =3D age=3D20 transport) and fiddle with the radio all at the same time, you can learn = =3D to use=3D20 the pedal pistons as well."&nbsp; </FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>I've&nbsp;seen Felix lean way back = and =3D take a=3D20 sideways glance at the toe pistons making sure he's aiming for the =3D correct one=3D20 all the while his fingers are flying.&nbsp;&nbsp;I've also seen Diane =3D Bish lift=3D20 her right hand manicured index finger and "glissando" it across the =3D entire=3D20 spectrum of couplers to pedal for the final chord blast.&nbsp; And on a = =3D closing=3D20 note, Dorothy Papadakos (?) has a power ranger with rubber legs =3D straddling two=3D20 powerful reeds--she pulls on its head and both activate at once.&nbsp; =3D That's my=3D20 2 cents on a beautiful spring morning in lower New York =3D state.</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>Robert =3D Clooney</FONT></DIV></BODY></HTML>   ------=3D_NextPart_000_004F_01C2F2A4.3A536F20--      
(back) Subject: Toestuds: useful or not? From: <TubaMagna@aol.com> Date: Tue, 25 Mar 2003 09:01:19 EST   Some organists who care to play 19th and 20th century French = repertoire use the toe studs with consistency, setting them up as if they were = ventils on French instruments of the period. Coupling functions, as well as = engaging and retiring the "combinaisons" are all accomplished with the feet. Yes, yes, one CAN play the Grand Piece Symphonique and all of the = Vierne Symphonies on a three-rank organ with no expression boxes. Such performances consitute transcriptions of these works for = portative. They are not performed as the composer conceived of them, and the tonal resources remain alien to the original concept. This is NOT a discussion = of the validity of such transcriptions, but let us not consider them equals,   Sebastian M. Gluck New York City  
(back) Subject: Re: What's In a Name? From: "Alan Freed" <acfreed0904@earthlink.net> Date: Tue, 25 Mar 2003 10:42:18 -0500   On 3/23/03 8:56 PM, "Mura Kievman" <mura@speakeasy.org> wrote:   > All she > does is make it so that the quartet, standing in front of her and > underneath the pipes (we're in a balcony above the congregation -- what > would be the bima in a jewish temple -- at the front of the church), > absolutely cannot hear ourselves. It's very hard to make her understand > that she does NOT need to play so loudly. Ours is a singing = congregation > ... they don't need that much assistance! > > Of course, it isn't quite so bad for them downstairs as it is for us = UPstairs!   Mura, I'm trying to picture this. As I understand it, the bima in a = temple is a raised platform in the east end of the sanctuary. On the bima are, most typically, a lectern or pulpit, a couple of chairs, and (obviously = most important) the ark. But you indicate that your music folks are "above" = the congregation (that is, above the ark?)--"Upstairs". That's the case at (imMENSE) Temple Emanu-El on Fifth Ave., NYC, so I can picture that. The organ/choir is about 60 feet ABOVE the bima. But that "musicians' = gallery" is not the same thing as a "bima," is it? (A Jewish friend just told me a couple minutes ago that I've got this all wrong, so don't hesitate to correct me!)   Alan    
(back) Subject: name of publisher... From: "Hugh Drogemuller" <hdrogemuller@sympatico.ca> Date: Tue, 25 Mar 2003 12:16:23 -0500   Can someone give me the name of the publisher of the Robert Hebble arrangement of "Londonderry Air"   Thanks.   HD    
(back) Subject: Allen Organs And Toe Studs From: <Devon3000@aol.com> Date: Tue, 25 Mar 2003 12:31:50 EST   If your Allen console has the "Console Controller" feature, and most do = now, you can make any of the general or pedal toe studs an "on" or "off" stud, = by programming that piston as such. Granted, they aren't reversible, you = have to use two studs instead of one. You have to configure each stud so it = won't affect any other stops or couplers, but it is so easy to do, taking a few seconds to accomplish. It's almost as easy as setting a piston.   Devon Hollingsworth, in Chicago suburb.  
(back) Subject: Re: name of publisher... From: "M Fox" <ophicleide16@direcway.com> Date: Tue, 25 Mar 2003 09:39:50 -0800   It was published in the collection "Ted Alan Worth In Concert" -- Sacred Music Press, Dayton Ohio. Its proper title is "Homage to Fritz Kreisler," and the copyright is dated 1962.   Michael Fox   ----- Original Message ----- From: "Hugh Drogemuller" <hdrogemuller@sympatico.ca> To: <pipechat@pipechat.org> Sent: Tuesday, March 25, 2003 9:16 AM Subject: name of publisher...     > Can someone give me the name of the publisher of the Robert Hebble > arrangement of "Londonderry Air" > > Thanks. > > HD > > > "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: name of publisher... From: "Stephen Best" <sbest@borg.com> Date: Tue, 25 Mar 2003 12:54:37 -0500     --------------060509070503080805090709 Content-Type: text/plain; charset=3Dus-ascii; format=3Dflowed Content-Transfer-Encoding: 7bit   I have this Hebble piece in "Hymn Tunes, Preludes, & Improvisations for Organ," published in 1981 by Bradley Publications. Title in my copy is "Londonderry Air."   Steve Best in Utica, NY   M Fox wrote:   >It was published in the collection "Ted Alan Worth In Concert" -- Sacred >Music Press, Dayton Ohio. Its proper title is "Homage to Fritz Kreisler," >and the copyright is dated 1962. > >Michael Fox > >----- Original Message ----- >From: "Hugh Drogemuller" <hdrogemuller@sympatico.ca> >To: <pipechat@pipechat.org> >Sent: Tuesday, March 25, 2003 9:16 AM >Subject: name of publisher... > > > > >> Can someone give me the name of the publisher of the Robert Hebble >>arrangement of "Londonderry Air" >> >>Thanks. >> >>HD >> >> >>"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 >> >> >> >> > > >"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 > > > > >     --------------060509070503080805090709 Content-Type: text/html; charset=3Dus-ascii Content-Transfer-Encoding: 7bit   <!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> <html> <head> <meta http-equiv=3D"Content-Type" = content=3D"text/html;charset=3DISO-8859-1"> <title></title> </head> <body> I have this Hebble piece in "Hymn Tunes, Preludes, &amp; Improvisations = for Organ," published in 1981 by Bradley Publications. &nbsp; Title in my copy = is "Londonderry Air."<br> <br> Steve Best in Utica, NY<br> <br> M Fox wrote:<br> <blockquote type=3D"cite" = cite=3D"mid00b701c2f2f5$9ca3e050$a16a020a@hmx31"> <pre wrap=3D"">It was published in the collection "Ted Alan Worth In = Concert" -- Sacred Music Press, Dayton Ohio. Its proper title is "Homage to Fritz Kreisler," and the copyright is dated 1962.   Michael Fox   ----- Original Message ----- From: "Hugh Drogemuller" <a class=3D"moz-txt-link-rfc2396E" = href=3D"mailto:hdrogemuller@sympatico.ca">&lt;hdrogemuller@sympatico.ca&gt;= </a> To: <a class=3D"moz-txt-link-rfc2396E" = href=3D"mailto:pipechat@pipechat.org">&lt;pipechat@pipechat.org&gt;</a> Sent: Tuesday, March 25, 2003 9:16 AM Subject: name of publisher...     </pre> <blockquote type=3D"cite"> <pre wrap=3D""> Can someone give me the name of the publisher of the = Robert Hebble arrangement of "Londonderry Air"   Thanks.   HD     "Pipe Up and Be Heard!" PipeChat: A discussion List for pipe/digital organs &amp; related topics HOMEPAGE : <a class=3D"moz-txt-link-freetext" = href=3D"http://www.pipechat.org">http://www.pipechat.org</a> List: <a class=3D"moz-txt-link-freetext" = href=3D"mailto:pipechat@pipechat.org">mailto:pipechat@pipechat.org</a> Administration: <a class=3D"moz-txt-link-freetext" = href=3D"mailto:admin@pipechat.org">mailto:admin@pipechat.org</a> Subscribe/Unsubscribe: <a class=3D"moz-txt-link-freetext" = href=3D"mailto:requests@pipechat.org">mailto:requests@pipechat.org</a>     </pre> </blockquote> <pre wrap=3D""><!---->   "Pipe Up and Be Heard!" PipeChat: A discussion List for pipe/digital organs &amp; related topics HOMEPAGE : <a class=3D"moz-txt-link-freetext" = href=3D"http://www.pipechat.org">http://www.pipechat.org</a> List: <a class=3D"moz-txt-link-freetext" = href=3D"mailto:pipechat@pipechat.org">mailto:pipechat@pipechat.org</a> Administration: <a class=3D"moz-txt-link-freetext" = href=3D"mailto:admin@pipechat.org">mailto:admin@pipechat.org</a> Subscribe/Unsubscribe: <a class=3D"moz-txt-link-freetext" = href=3D"mailto:requests@pipechat.org">mailto:requests@pipechat.org</a>       </pre> </blockquote> <br> </body> </html>   --------------060509070503080805090709--    
(back) Subject: Re: British organ builders of influence From: "Alan Freed" <acfreed0904@earthlink.net> Date: Tue, 25 Mar 2003 16:20:40 -0500   On 3/23/03 7:07 AM, "John Foss" <harfo32@hotmail.com> wrote:   > Good heavens Colin - why should I be annoyed with you! Life is too short = to > let anger rule our lives.   I REALLY enjoy it, sitting in a quiet corner, when you guys sit down for a head-to-head. I understand less than I don't, but it's fun anyway. And since you both speak real Brit, the idiosyncrasies of that strange tongue are like hearing an exotic Asian instrumental solo.   Thanks to you both, for many thoroughly enjoyed posts, both light and = heavy.   Alan    
(back) Subject: Olivier Latry From: "Glenda" <gksjd85@direcway.com> Date: Tue, 25 Mar 2003 22:48:16 -0600   Did he do an encore at Mother Church or St. Iggy? All during it tonight I was racking my brains to remember the piece - 2 non-organist friends and my companion asked me what it was. Help! I've heard it on recording in the last 3 weeks - it's driving me crazy.   I'm still reeling and torqued - how come a French guy 2 years my junior can be so damned good?   More later, if I can dream up the words to describe the recital.   Glenda Sutton gksjd85@direcway.com        
(back) Subject: Re: Olivier Latry From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Wed, 26 Mar 2003 00:18:30 -0500   Hi Glenda,   In Boston, his encore was the last movement of the Guilmant First Sonata, which you have perhaps heard on Felix's recent Newark recording.   Here is a description of the St. Ignatius encore, in my review of March 19th: "After the applause died down and the standing ovationers became seated, Kent Tritle took to the podium again, and announced that at Intermission, = Olivier had said he would really like to do an improvisation on a given theme, at the end. The audience clearly required an encore, and so it came to pass. The theme was timely and apt, <Da Pacem>, the Introit to the Mass for = Peace. As Rodney mentioned in a posting shortly after the concert, while Kent = sang the chant (most beautifully), Olivier began to punctuate it with short, soft, 16' Pedal notes, and later, with yet more - in other words, as Kent sang, the improvisation had already begun, and so it continued in great brilliance, all informed by the rock solid plainsong melody. What a magnificent evening it brought to an end!"   Cheers,   Malcolm   ----- Original Message ----- From: "Glenda" <gksjd85@direcway.com> To: "PipeChat" <pipechat@pipechat.org> Sent: Tuesday, March 25, 2003 11:48 PM Subject: Olivier Latry     > Did he do an encore at Mother Church or St. Iggy? All during it tonight > I was racking my brains to remember the piece - 2 non-organist friends > and my companion asked me what it was. Help! I've heard it on > recording in the last 3 weeks - it's driving me crazy. > > I'm still reeling and torqued - how come a French guy 2 years my junior > can be so damned good? > > More later, if I can dream up the words to describe the recital. > > Glenda Sutton > gksjd85@direcway.com >