PipeChat Digest #3684 - Tuesday, May 20, 2003
 
RE: Handel Organ Concertos
  by "andrew meagher" <ameagher@stny.rr.com>
Re: Handel Organ Concertos
  by <RonSeverin@aol.com>
 

(back) Subject: RE: Handel Organ Concertos From: "andrew meagher" <ameagher@stny.rr.com> Date: Tue, 20 May 2003 00:19:02 -0400   I would use a very simple registration as well for the Handel.   Andrew Meagher     -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org]On Behalf Of quilisma@socal.rr.com Sent: Monday, May 19, 2003 7:04 PM To: PipeChat Subject: Re: Handel Organ Concertos     Which edition are you playing from? I used to play from the Dupre (grin!) and mark the solo and tutti parts because that was the most uncluttered urtext, if one ignored Dupre's pedal part and played it in the l.h. ... Walcha/Schott adds too many notes to the organ part, though that's what I use for the orchestra parts.   That said, I use a very simple scheme for all of them:   Quick movements:   Solo: 8 Flute, 2' Flute or 2' Principal Tutti: a different 8' flute, since the organ at that point is playing continuo   Slow movement(s):   a singing 8' flute alone; no change for tutti sections   That old LP of Biggs at Great Something-or-Other-Estate Chapel on the "Handel" organ uses a Cornet combination for some things, and that wouldn't be out of the style.   Now, if you're having a full-sized modern band, obviously that's not going to work (grin).   Cheers,   Bud   Stephen Barker wrote: > Dear List, > > I have a performance of Handel's F major Organ Concerto coming up (op. 4 > no. 4) and I wonder if anyone could offer advice on the sorts of > registration I should be using... I have a recording that seems to jump > between manuals and registrations but it just seems a bit too > over-the-top. Anyone performed this and got any other advice to give > me?! > > The organ I'm performing on has the following registration: > > Great: > Open Diapason 8' > Stopped Diapason 8' > Dulciana 8' > Principal 4' > Wald Flute 4' > Mixture II > Octave Sw to Gt > Sw to Gt > Sub-octave Sw to Gt > > > Swell: > Giegen Prinicpal 8' > Gedact 8' > Salicional 8' > Gemshorn 4' > Twelfth 2 2/3' > Fifteenth 2' > Oboe 8' > Octave coupler > Sub octave coupler > > > Pedal: > Bourdon 16' > Quint 10 2/3' > Flute 8' > Octave Quint 5 1/3' > Flute 4' > Gt to Ped > Sw to Gt > Octave Sw to Gt > > > Thanks! > > Steve > Canterbury, UK > > > "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    
(back) Subject: Re: Handel Organ Concertos From: <RonSeverin@aol.com> Date: Tue, 20 May 2003 01:24:04 EDT     --part1_110.23b4aea6.2bfb15f4_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Hi Bud:   E. Power Biggs made the recording at Great Packington. There was a great controversy of why the organ needed an alteration of it's pipes by Suzi Jeans, and Dame Gillian Weir during the 50's. It seems the pipes were cut off and after the recording secession extra long tuning collars were employed to regain the old pitch. Jeans and Weir maintained that this was an untouched Handel organ, why cut it up especially to play Handel's music. I'm wondering the same thing.   Ron Severin   --part1_110.23b4aea6.2bfb15f4_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">Hi Bud:<BR> <BR> E. Power Biggs made the recording at Great Packington. <BR> There was a great controversy of why the organ needed<BR> an alteration of it's pipes by Suzi Jeans, and Dame <BR> Gillian Weir during the 50's. It seems the pipes were<BR> cut off and after the recording secession extra long<BR> tuning collars were employed to regain the old<BR> pitch. Jeans and Weir maintained that this was an<BR> untouched Handel organ, why cut it up especially to<BR> play Handel's music. I'm wondering the same thing.<BR> <BR> Ron Severin </FONT></HTML>   --part1_110.23b4aea6.2bfb15f4_boundary--