PipeChat Digest #3573 - Thursday, March 27, 2003 RE: Olivier Latry by "Glenda" <firstname.lastname@example.org> Re: Olivier Latry by <email@example.com> Re: Africian Scam by "Margo Dillard" <firstname.lastname@example.org> Southeast Texas Judas Maccabaeus by "Alan Freed" <email@example.com> Re: Africian Scam by "STRAIGHT" <STRAIGHT@infoblvd.net> Re: name of publisher... by <RMaryman@aol.com> Latry in Florida by "Malcolm Wechsler" <firstname.lastname@example.org> Re: Anglican Organs and registration aids by "Thomas Mohr" <email@example.com> Re: British organ builders of influence by "Colin Mitchell" <firstname.lastname@example.org> RE: Olivier Latry by "Glenda" <email@example.com> Olivier Latry in Florida (LONG AND MAUDLIN) by "Glenda" <firstname.lastname@example.org> Felix Hell by "Bill Raty" <email@example.com>
(back) Subject: RE: Olivier Latry From: "Glenda" <firstname.lastname@example.org> Date: Wed, 26 Mar 2003 06:01:42 -0600 Yes, he did an improv too - Picardy and you'll never guess the second theme! Glenda Sutton email@example.com
(back) Subject: Re: Olivier Latry From: <firstname.lastname@example.org> Date: Wed, 26 Mar 2003 08:07:46 -0500 OK, Glenda, Please tell us.. What was the second theme played by Latry in Pensacola, FL? Pat Maimone enjoying the first days of spring in the Hudson Valley of New York Post Chapel, West Point, NY email@example.com III/57 Aeolian-Skinner/Moeller/Gress-Miles firstname.lastname@example.org ________________________________________________________________ Sign Up for Juno Platinum Internet Access Today Only $9.95 per month! Visit www.juno.com
(back) Subject: Re: Africian Scam From: "Margo Dillard" <email@example.com> Date: Wed, 26 Mar 2003 07:27:01 -0600 --------------080900060406040907050603 Content-Type: text/plain; charset=3Dus-ascii; format=3Dflowed Content-Transfer-Encoding: 7bit I think the next time I get one of these, I'm going to forward them one of the many other e-mails I receive that want to help me out with the size of a certain appendage I don't have. Since they are all such helpful, concerned people, maybe they can help each other out...... Margo Chicaleee@aol.com wrote: > Keith, > > So now I am elderly and a religious fanatic, hummm. I still have a > few cents (sense). (And they sure wouldn't get much out of my bank > account.) > > Lee --------------080900060406040907050603 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 think the next time I get one of these, I'm going to forward them one of the many other e-mails I receive that want to help me out with the size of a certain appendage I don't have. Since they are all such helpful, = concerned people, maybe they can help each other out......<br> <br> Margo<br> <br> <a class=3D"moz-txt-link-abbreviated" = href=3D"mailto:Chicaleee@aol.com">Chicaleee@aol.com</a> wrote:<br> <blockquote type=3D"cite" cite=3D"firstname.lastname@example.org"><font face=3D"arial,helvetica"><font color=3D"#400040" size=3D"2" family=3D"SANSSERIF" face=3D"Arial" lang=3D"0">Keith,<br> <br> So now I am elderly and a religious fanatic, hummm. I still have a = few cents (sense). (And they sure wouldn't get much out of my bank = account.) <br> <br> Lee</font></font></blockquote> <br> </body> </html> --------------080900060406040907050603--
(back) Subject: Southeast Texas Judas Maccabaeus From: "Alan Freed" <email@example.com> Date: Wed, 26 Mar 2003 11:41:21 -0500 From: Dr. Keith F. Taylor [mailto:firstname.lastname@example.org] Sent: Wednesday, March 26, 2003 8:44 AM Subject: SE Texas Musical Performance The Combined Musical Forces of First United Methodist Church Dr. Keith F. Taylor, Director of Music and Arts and Trinity United Methodist Church Dr. Don Ball, Ministry of Music present Judas Maccabaeus The Oratorio by George Handel The Combined Choirs, Soloists and Orchestra will be under the direction of Dr. Keith F. Taylor Thursday, April 3, 2003 -- 7:00pm First United Methodist Church 701 Calder Avenue @ Pearl Street Beaumont, Texas Free Admission -- Child Care Available Call the church office (409-832-0295) for more reservation Dr. Keith F. Taylor Director of Music and Arts First United Methodist Church Beaumont, Texas email@example.com www.geocities.com/~anklang
(back) Subject: Re: Africian Scam From: "STRAIGHT" <STRAIGHT@infoblvd.net> Date: Wed, 26 Mar 2003 16:07:10 -0500 I just turned this thing on for the first time in a couple of days and this is what I find!! If I ever stop laughing, I'll read the rest of the 2 or 3 hundred back posts! This is hilarious! Bwahahahahaha! Diane-----getting back on the chair <<<<<<<<<<<<<<<<<<<<<<<< I think the next time I get one of these, I'm going to forward them one of the many other e-mails I receive that want to help me out with the size of = a certain appendage I don't have. Since they are all such helpful, = concerned people, maybe they can help each other out......
(back) Subject: Re: name of publisher... From: <RMaryman@aol.com> Date: Wed, 26 Mar 2003 17:22:58 EST --part1_d0.36fefa25.2bb38242_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit The Hebble "londonderry Air" is - in : Ted Alan Worth In Concert Sacred Music Press (sorry, the book is at church, don't have the publication numberm but the book has been in and out of publication the last few years. Also in this book Sinafonia to Cantata XXiX (J S Bach, arr Hebble) Sleigh Ride (Frederick Delius) (there is one more piece, shich I play on accasion, i can't remember the title AAARGH!) Rick in VA --part1_d0.36fefa25.2bb38242_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2>The Hebble = "londonderry A=3D ir" is - <BR> <BR>in : Ted Alan Worth In Concert <BR>Sacred Music Press <BR> <BR>(sorry, the book is at church, don't have the publication numberm but = th=3D e book has been in and out of publication the last few years. <BR> <BR>Also in this book=3D20 <BR> <BR>Sinafonia to Cantata XXiX (J S Bach, arr Hebble) <BR>Sleigh Ride (Frederick Delius) <BR>(there is one more piece, shich I play on accasion, i can't remember = the=3D title AAARGH!) <BR> <BR>Rick in VA</FONT></HTML> --part1_d0.36fefa25.2bb38242_boundary--
(back) Subject: Latry in Florida From: "Malcolm Wechsler" <firstname.lastname@example.org> Date: Wed, 26 Mar 2003 17:28:27 -0500 I guess you'll have to tell us. It certainly wasn't The Teddy Bears' = Picnic. That is already taken! Cheers, Malcolm ----- Original Message ----- From: "Glenda" <email@example.com> To: "'PipeChat'" <firstname.lastname@example.org> Sent: Wednesday, March 26, 2003 7:01 AM Subject: RE: Olivier Latry > Yes, he did an improv too - Picardy and you'll never guess the second > theme! > > Glenda Sutton > email@example.com >
(back) Subject: Re: Anglican Organs and registration aids From: "Thomas Mohr" <firstname.lastname@example.org> Date: Wed, 26 Mar 2003 23:32:08 +0100 As a European Organist, I watched this discussion with some interest. In = my experience, organists in Europe, especially those used to old organs, seem = to use toe studs rather scarcely. With the organs here (recently I played on one from 1750, restored to near = original state and a soft crystal clear voicing - it was incredible) you = have to do the hand registering yourself, since the only registering aids are = the couples (I+Ped, II+Ped, and I+II) and you have to "use" a human as an aid = for registering. 100% mechanical tracker. Even in "my" church, (instrument with electric register tracker, 50ties) = we've got only 3 (three !) preprogrammable combinations (couplers are extra) and = no toe studs - which means that registering has to be planned *very* = carefully. regards, Thomas -- DI Thomas Mohr Institute of Cancer Research - Vienna University Borschkegasse 8a A-1090 Vienna Austria Tel ++43 (1) 4277 65160 Fax ++43 (1) 4277 65196
(back) Subject: Re: British organ builders of influence From: "Colin Mitchell" <email@example.com> Date: Wed, 26 Mar 2003 22:46:42 +0000 (GMT) Hello, Thanks to John, who makes many valid points and provides us with a wonderful "potted history" of English organ-building. For the record, I would regard Willis as a very great organ builder, but my comparison with Lewis was significant. Willis had worked from the knowledge of the English school dominated by the legacy of Italianate musical style and the anglicised German organs of Schmidt/Snetzler, which, as time passed, became milder and milder in tone. As I point out in my pending "tome" about Schulze, this was an insular and non less worthy "school" of music and organ-building, but one which really was out on a limb. Perhaps without realising it, Lewis adopted but then MODIFIED a particularly fine example of early German Romantic organ building which still had many connections with the Baroque. I refer, of course, to Schulze. With a little imagination, it is actually not inconceivable that Lewis was very, very close to modern day thinking.....that is what I find exciting about his work. The difference is in the treatment of chorus-work, which I suspect Willis did not properly understand. By coming into contact with Schulze, Lewis absorbed a style of organ building which was completely foreign to British ears, but which caused great excitement. The way Lewis adapted this sound to British tastes is, I think, one of the miracles of 19th century organ building. But what does it say about musical taste that this excellent style of organ building was replaced by the whims of Hope-Jones in due course? Norman & Beard were aghast at the closer reed tones of the Edwardian period, and spent a great deal of time in researching and experimenting with flue pipes which could blend with such smooth reeds........they NEVER approved of them for one moment! On the subject of connections, isn't it strange that Degens and Rippen learned from Compton, who learned from Brindley & Foster, who learned from Schulze....and that lineage is detectable even to-day. Isn't it also interesting that ALL of those names disappeared, along with that of Lewis. Now to the specific points. > Byron is respected, quite rightly, > as a hero. ........I do not believe his > tempestuous love life detracts in > any way from his greatness, I used to walk in the same area as Byron and possibly for the same reason, but I didn't smoke drugs or write poetry. Surely, heroin rather than hero? > Try telling a Greek Class that > Alexander the Great, who > was born just down the road from where I live and > was arguably one of the > greatest military commanders of all time, was gay I would have thought that explaining Alexander the Great's predelictions in Greece would have been a simple matter in a country where the term "Women for babies and boys for pleasure" originates! Didn't they build armies on that sort of thing? Don't the army still wear skirts? > I don't > think so many Cathedrals > would have commissioned him if his financial > reputation was unstable. I don't think Willis ever HAD a dubious reputation financially....he was far too clever by three halves. > Whilst not disputing the influence of Snetzler, to > dismiss Dallam, Harris, > Bridge, Jordan, Bishop and so on out of hand seems > somewhat perverse. I didn't dismiss them John, I just didn't mention them! > Schulze > was a fine builder - I have played at Doncaster, > though when I gave a > recital there some years ago it had become a 5 > manual Walker organ. > The > original Schulze pipework was still there. But he > did not build many organs, > so his influence was limited. Ha! The Walker additions were very few in number, and tonal changes were more or less restricted to "improving" the Swell and Great reeds (which is quite true....they did), adding a Solo Organ with Tubas, and not a lot else. They respected the Schulze pipework and left well alone, for the most part. The Schulze influence was out of all proportion to their opus list.....their style totally captivated organ builders in the North of England and that of T C Lewis. It was Prince Albert who had invited Schulze to build an organ for the Great Exhibition......they were very highly regarded in Saxony, and the Schulze company built many organs over a period in excess of 150 (?) years. In fact, the family history goes right back to the Baroque IN THE AREA OCCUPIED BY BACH! > Not being a Sun reader, it was the first > time I had heard the story....... I suspect that it was a story which merely circulated the "Rotunda" works......the "Petersfield Clarion" is probably the better source. Finally, could someone please explain why an organ builder should choose to set up shop next to a bell-founders? Enharmonicity or what? It might explain all those tierce mixtures and bell gambas. Regards, Colin Mitchell UK --- John Foss <firstname.lastname@example.org> wrote: > __________________________________________________ Do You Yahoo!? Everything you'll ever need on one web page from News and Sport to Email and Music Charts http://uk.my.yahoo.com
(back) Subject: RE: Olivier Latry From: "Glenda" <email@example.com> Date: Wed, 26 Mar 2003 18:04:12 -0600 Thanks, dear. I can rely on you to have the correct information whenever I need it, and you were right. It WAS the Guilmant. I appreciate you, and always read your reviews on the edge of my seat (that is meant as a compliment, in case it comes off otherwise). Glenda Sutton firstname.lastname@example.org -----Original Message----- From: email@example.com [mailto:firstname.lastname@example.org] On Behalf Of Malcolm Wechsler Sent: Tuesday, March 25, 2003 11:19 PM To: PipeChat Subject: Re: Olivier Latry In Boston, his encore was the last movement of the Guilmant First Sonata, which you have perhaps heard on Felix's recent Newark recording.
(back) Subject: Olivier Latry in Florida (LONG AND MAUDLIN) From: "Glenda" <email@example.com> Date: Wed, 26 Mar 2003 20:33:26 -0600 I was not going to write about this recital, because his programs at St. Ignatius and the Mother Church have already been cited with glowing accolades - what could I add to that? But all day I have moved in a trance - can I refrain from saying that I have just experienced the best organist I have heard to date, live or in recording? Can I pretend that it was just another concert? I certainly did not expect to be blown away - while pleasantly anticipating this recital with the chance to hear Latry for my first time, and an opportunity to hear this organ again after several months of tweaking by the organbuilder since its inaugural performance, I did not expect the earth to move. After all, I am pretty jaded and cynical in outlook. But last night's music is emblazoned upon my soul, still raw as from a searing brand. I have heard some very fine musicians in my lifetime. I consider Felix Hell to be the most wonderful young organist of our time, with the drive and ability to become one of the best of this age. However, with no slight intended to Felix or any of the others on my short list of greats, I must say that everything and everyone I've seen and heard heretofore pales in comparison to last night's performance. My friend and I made record time of forty minutes from the Okaloosa County Courthouse to Pensacola, but lingered too long over dinner and coffee, and were prevented from claiming our coveted seats of center floor level. Instead, we opted for the gallery, but just before intermission spied empty seats on the floor level fourth row, and during intermission hied ourselves downstairs to hear the second half. I thought that inasmuch as the recital fell on Tuesday night, there would not be much of a crowd. Let me tell you that the Methodists were out in force (as well as some Episcopalians and others), and the place was filled. It is my best guess that the church holds 400-500 people, and there were few empty seats. The program was pretty much what Latry played elsewhere: Prelude and Fugue in G major (BWV 541) - Bach Three chorales from the Orgelbuchlein: Jesu, meine Freude Wer nur den Leben Gott lasst walten Es ist das Heil uns kommen her Quatre Cantiques de Denizot - Boely Toccata in B minor - Boely Choral No. 1 in E major - Franck intermission Allegro (1st movement from 6th Symphony) - Widor Clair de lune - Vierne Feux follets - Vierne Evocation: Final - Dupre Improvisation Encore: Guilmant's final movement from Sonata No. 1 in d minor The venue, First United Methodist Church, Pensacola, boasts a new organ of four manuals by Tom Helms. The lovely facade of polished metal pipes in walnut finished casing flanks a central Gothic window portraying a triptych of Christ. I have the latest stoplist, but because I cannot count I am unable to tell you the number of ranks (which means it is more than six). Sadly, the AGO chapter's website has not been updated to exhibit this organ - only its predecessor is shown. The console is uncharacteristically black, coming from another organ in South Florida. The instrument sounded much better under Latry's hands than at the organ's inaugural with Frederick Swann several months ago. I could not tell you what about the organ I did not like earlier, but it is much improved. The only noticeable glitches were a celeste's not being quite "with it" (and I did not take notes to be able to tell on what musical selection or manual this occurred), and a note was out on the solo division during the early part of Latry's improvisation. I did notice that although there is plenty of bottom in this organ, sometimes one feels rather than hears the notes in the upper registers at middle to full organ. That could be simply a function of the pipe placement, but I noticed it both in the right gallery and on the left floor. Latry made the soft so soft but palpable in the Franck, and the loud so loud, painfully so, in the improvisation and the Guilmant encore. From our vantage in the gallery, we were able to witness Latry's exemplary pedal technique, and from our view on the floor, we were roughly twenty feet from his left hand. The evening was a study in clarity and control - no runaway trains, no music on the stand, no extraneous movements, and impeccable playing. He made it look so easy, but no one in the room was fooled. I took no notes: to describe at the time what was happening was to catch the wind and hold it in your hands. The music saturated me and sucked me dry (to borrow an old saying, like a cow that swallows its food whole and chews it later - I'm still chewing - or perhaps a more fitting simile is like a child hurriedly slurping down macaroni and cheese). On second thought, I'm all out of suitable similes. I almost never hear the P&F in G major, so it is refreshing and titillating in itself. And I am glad that someone is championing Boely's works - we hear too little of him nowadays. My friend and I share many of the same tastes, and both expressed afterward that the Franck Choral No. 1 is our favorite (except when I happen to be listening to the Choral No. 2). This was also my favorite Widor movement, and some of the most wonderful stuff Vierne wrote. I must tell you that Latry characteristically pauses before launching into each piece, as though to gather himself for the onslaught. Just before beginning the Clair de lune, the whistle of a nearby train could be heard, and he lost his concentration and could not start - we all laughed at that interruption. But I know you are not interested in all this - all you want to know is the themes for the improvisation. Well, the hymn tune chosen was Picardy, which seemed to me an easy enough tune for improvisation. However to try to wrap it around the Alka Seltzer ditty (yes, "plop, plop, fizz, fizz, oh, what a relief it is") was more than a simple feat. And although most improvisations are entirely too long (including this one), this was much more than an organ player's fifteen minutes of freight train composition - it was obvious that Latry knew intimately and borrowed from the stylisms of the great organ composers, while making this his very own. Come to think of it, it could have been much easier if the hymn chosen was "Hymn to Joy"! Warning: digression follows. You know we have discussed before how many beats a hymn accompanist should pause between verses. I have always felt there was a natural rhythm that clues musician and congregation when to start the next stanza, and I naively thought that everyone possessed this natural rhythm. Now I realize that maybe some do not have it, and need some sort of ground rule. There is a metronome inside many people that sets their life pace, and in musicians their playing tempos. I think recognizing that metronome and using it requires some maturity. Latry had this metronome well in hand - no note was amiss; everything was done decently and in its proper order. The Claire de lune was slightly slower than I had heard Richard Morris do it, but all the little nuances of movement going on were felt keenly. The Feux Follets was sheer delight. I told my mother this morning that had I heard a recital such as this at the age of 12, 14, 16, or 18, I would have run away from home and become a professional organist. I would have told Felix to move over, and would not have rested until I could play like that. I am not one to engage in questioning God because of my Calvinist tendencies, and I realize that his ways are not our ways, and he not only sees past the curve in the road but established it in the first place. However, all the way to work this morning I was wondering why I was destined for a life of mediocrity in an organist's wasteland while exposed to such beauty. I realize that someone has to be reared in the middle of the land that time forgot, and it might as well be me as anyone else that lives here. But to never have teachers in my youth that could have removed the scales from my eyes, and to not be exposed to organ music of such surpassing wonder until my thirties and forties, seem such a crime that should not happen to anyone. I looked around at the faces in the church and wondered if I was the only one whose heart was being ripped out - they seemed so outwardly calm except during times of wildly enthusiastic applause. I was unusually quiet (yes, it is true) during the trip home because I did not trust myself to speak. I had seen the gates of heaven and hell simultaneously. All in all, that's not all, but it's more than enough. Please forgive the Shelleyan histrionics ("I fall upon the thorns of life! I bleed!"), but it may take some huge dose of everyday mediocrity to cure me of this stupor. Glenda Sutton firstname.lastname@example.org
(back) Subject: Felix Hell From: "Bill Raty" <email@example.com> Date: Wed, 26 Mar 2003 21:39:36 -0800 (PST) Encouraged by rave reviews on this list I purchased the 3 recordings by Felix Hell. They arrived in the mail today. I have to say the CDs are worth the money, and then some. I was most impressed and touched by the interpretation of "O Mensch, bewein' dein' Sunde gross", in memorial to Virgil Fox, played on the Schantz. I've always loved this lenten chorale setting by Bach, but felt elevated by the unique way Mr. Hell played the piece. It seemed like he was able to paint a picture looking past the renunciation of sins thru to the joy bestowed upon us by the atonement thru the passion. Beautiful!, beautiful!, beautiful!. This is true artistry and genius: to take something familiar and though it is already exquisitely beautiful, expose something heretofore unseen and unheard. Breathtaking. Thank you!, Mr. Hell. Thank you! -Bill =3D=3D=3D=3D=3D