PipeChat Digest #4041 - Tuesday, October 7, 2003
RE: Max Reger burial place
  by "Lefevre Vincent" <vincent.lefevre@tiscali.be>
OHS 2003 - 5th Full Day - 6/24
  by "Malcolm Wechsler" <manderusa@earthlink.net>
Worcester Mass. USA organ concerts
  by "Judy A. Ollikkala" <71431.2534@compuserve.com>
Re: OHS 2003 - 5th Full Day - 6/24
  by "John L. Speller" <jlspeller@mindspring.com>
Monday night chat!
  by "Eric McKirdy" <emckirdy@gladstone.uoregon.edu>

(back) Subject: RE: Max Reger burial place From: "Lefevre Vincent" <vincent.lefevre@tiscali.be> Date: Mon, 6 Oct 2003 12:31:47 +0200   Dear Karl, Max Reger died during a weekly stay in Leipzig ((1916) and cremated in = Jena, where the urn is preserved in the "Reger House". Vincent from Belgium   -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org] On Behalf Of = Karl Moyer Sent: zondag 5 oktober 2003 20:49 To: piporg-l; pipechat; organchat   Can anyone tell me the city or town of Max Reger's burial place and = perhaps the name of the cemetery (der Friedhof) & perhaps even location therein? Thanx.   Karl E. Moyer Lancaster PA   "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: OHS 2003 - 5th Full Day - 6/24 From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Mon, 6 Oct 2003 13:17:54 -0400   OHS 2003 Convention, South Central Pennsylvania Fourth Full Day, Tuesday, June 24th.   Gerald E. Mummert, York County Historical Society Museum Tuesday, June 24th, 2003.   Today, the convention was split in three, some going to hear a 1995 Organ = by Ray Brunner in Mount Joy, PA, some going to the Museum of the York County Historical Society in York, and some visiting the National Clock and Watch Museum in Columbia, PA. I frankly regretted the forced choice, wanting to hear Ray's instrument, plus the last Tannenberg, and to visit also the Watches and Clocks. The strongest contender in the Must Hear category was the Tannenberg in York, and that is where I chose to go. The Organ is on display at the front of a small auditorium, and to me, even though simple, it was breathtaking. Ray Brunner, who has done considerable restorative = work on this instrument, gave us an introduction to it, before, I presume, rushing over to Mount Joy. Quoting Ray Brunner:   "Although 76 years of age and in failing health, Tannenberg completed an Organ for this large Lutheran congregation in York. The wagons carrying = the Organ arrived in York in late April, 1804, and Tannenberg and his = assistant began the installation. May 17th, while standing on a bench or scaffold tuning the Organ, Tannenberg had a stroke and fell. He died two days = later; the Organ was finished by his assistant John Hall."   There were eleven stops, nine manual (54 notes) and two Pedal (25 notes), but the Trumpet went missing at some point. There are apparently no = examples of a Tannenberg Trumpet around to copy, so no attempt has been made to add one so far. The Organ survived in original condition for a century, with Midmer doing a rebuild in 1905, and that is how Ray Brunner found it in 1990. There is more restorative work he hopes to do, as budget permits, = but at present, the instrument is lovely to behold and to hear.   For our recital on this day, the Organ was also in highly appropriate = hands. Gerald Mummert has been since 1971 Director of Music in the church for = which the Tannenberg was originally built, Christ Lutheran Church in York. He holds degrees from Susquehanna and Indiana Universities. He is Adjunct Professor of Music at York College of Pennsylvania. He is a splendid = player, and brought us an imaginative and interesting program, one well calculated to suit the Organ wonderfully. He proved yet again that wonderful music = can be made on a single manual Organ, a fact well-known to OHS members. We = began with:   "Hampton," by The Rev. Johann Georg Schmucker, who was pastor at Christ Lutheran from 1802 to 1836, listening to the Tannenberg all the way. This piece, however, was a band piece, arranged by Mr. Mummert, and gave us our first experience of the ensemble sound of this instrument. There is a Tierce in the Mixture, which gave off some of the missing reedy quality.   Continuing with our pleasantly incestuous programming, the next work is by Michael Bentz, who was Organist of Christ Lutheran Church, Lancaster, when the Tannenberg Organ was installed, or possibly a bit after that. <Herz = nach dir gewacht> which most of us read in the King's English as "Like as the hart desireth the waterbrooks" was gratefully received as a piece = requiring many stop changes, giving us a tour of the tonal possibilities.   Sublime is the only suitable word for the combination of the performance, the Tannenberg, and the Brahms setting of Schmuecke dich. It was a = splendid moment.   We next heard a beautiful and unknown-to-me work of Sir William Walton, = one of a set of Three Pieces for Organ. Called "Elegy," it is a lovely find. Thank you for that, Gerald Mummert.   I have heard Versets by Dan Pinkham a number of times now in a variety of circumstances. I am sure they have never worked better than in this place. 1. "Let us be patient and watch." Chordal and powerful on this = instrument. 2. "Rise up now and be merry." The title says it all. 3. "Ponder this in your heart." Long, slow, gently dissonant chords, with = a resolving consonance at the end. 4. "And all the bells rang out the good news." Again, the title says it all.   We closed with a hymn by Michael Bentz, <Der Herr ist Sohn und Schild,> = sung in three parts (SAB), arranged by Gerald Mummert, a lovely ending to this really fine recital. I stayed rooted to the spot for a while afterwards, looking at the simple case and thinking about all it stands for. When the CDs become available for this convention in a few years, this is one = recital I will turn to fairly soon for refreshment and enlightenment.     Scott Foppiano - Tuesday, June 24th Covenant UMC, Lancaster   After the sweet gentleness of the very last Tannenberg, the next recital gave something of a jolt, a jolt which came from both the instrument and = the player. The Organ is a Casavant from 1926, and not a great deal has been done to it since its installation. There was a releathering in 1959, and another in the late 1980s. In 2002, Columbia Organ Works rebuilt the console, and "at the church's insistence," made some additions at that = time. Does this sound like reluctance overcome. One can't be sure. The additions were, on the Great: A 2' Super Octave, and a IV Rank Mixture, and on the Swell, a V Rank Mixture. Someone seemed to be seeking more brilliance, or perhaps clarity, which having heard this recital, becomes hardly = believable. It has been said, of course, that there are no loud Organs, only loud Organists. Sorry, but when one pulls out 8, 4, 2, and Mixture and it = hurts, that's loud. When the Organist pulls them out, he is complicit in that loudness, although, in fairness, there is often no alternative. I am told that Casavants of this period, the 20s, are very loud. That certainly was not my experience in my years in Canada, and I have a suspicion that more = is going on here. The Organist who played the inaugural recital in December 1926 was Harry Sykes, then Organist at Trinity Lutheran Church, also in Lancaster. Later on, we are told that he was consultant for the Hershey Theater Organ. Was this man a purveyor of LOUD? Certainly both Organs give off a lot of unpleasant extra decibels to, at least, this listener. The given specification fails to list couplers, other than those that have reversible pistons. However, one can surmise from 73 note chests on Swell, part of the Choir, and all of the Solo, that these have super couplers to the Great. The fact that the Great has only 61 note chests comes as a relief.   Mr. Foppiano is from Memphis, where he now serves a Director of Music in a church not named in his program biography. This appointment is fairly new, and may have become final too late for inclusion in the Organ Handbook. After studying locally, in Memphis, his family moved to Charlotte, and he entered the North Carolina School of the Arts, where he was a student of both John and Margaret Mueller. Further study was with Donna Robertson, David Lowry, Thomas Hazleton, and the late William Whitehead. He studied Gregorian Chant with Dom Daniel Saulnier from Solesmes.   The opening work was a piece I play and love dearly, and Mr. Foppiano's performance, I thought, failed to understand the sense of it, not helped = by numerous inaccuracies. These last, I had to think, were brought on by nerves, not impossible to understand in playing for a National Convention = of the OHS. Things got much better as we moved on to other works. From John Ireland's Suite for Organ, that first piece was the Intrada, easily loved, but very specific in its dynamic markings. The beginning Piano might = perhaps have seemed to Mr. Foppiano to have been so, in contrast with what was to follow, but on no one's objective scale could it have been a real Piano. = It was at least Mezzo Forte, and led us to climactic moments that reached a volume and brilliance that could not ever have been contemplated by the composer in this lovely, gentle work. I was totally unsettled. From the = same suite, we then heard the Villanella, rather more delicately done - lovely lush stuff, which this Organ could handle in abundance. The Menuetto-Impromptu was beautifully registered.   Scott then gave us the not often played Priere of Rene Vierne, the younger brother of Louis. I recall Scott posting once on Pipechat, requesting information that might lead him to finding a copy - no reward was offered, = I don't think, but obviously, he found it, and I am glad. Rene died at the = end of the First World War, in 1918. He had studied first with his older brother, Louis, and later with Guilmant. The two brothers became = titulaires at churches named Notre Dame, Louis, of course, at the great one by the Seine, Rene at another lovely Notre Dame, blessed with the name Notre Dame des Champs, something like Notre Dame in the Sticks.   For something completely different, the C. S. Lang Tuba Tune, opus 15, = from 1925, which I enjoy, even if my friend John Henderson does say: "His most famous piece is the rather trivial Tuba Tune . . . " Of course, it is not = a profound work by any means, but it does divert audiences. Scott can play = the Organ, but as a Tuba player, he gets a bit carried away, and the Tuba, at the chosen very brisk tempo, did get away from him a bit.   The Hymn, both text and tune, was written by Benjamin R. Hanby = (1833-1867), a pastor in the Church of the United Brethren. The tune has some small freshness about it, that keeps it from totally bogging down. The harmony, however, consists of three chords. Having said that, the slow harmonic rhythm gave us a chance to savor the purity of our harmony, which was, of course, considerable! Scott seems to prefer to dominate the singers with = the Organ, rather than just supporting us sufficiently from below, and considering the Organ, he had no trouble whatever in overpowering us, despite our power as a singing group.   Offering us another prayer, we heard next the lovely Boellmann Priere a Notre Dame, from the Suite Gothique. This was perhaps the most subtle and sweet playing of the evening, and a nice idea at this point in the = program.   Gordon Balch Nevins (the younger - 1892-1942), whom I don't suppose told = too many his middle name in school, was actually the son of George Balch = Nevin, another composer. Scott played the one piece of Nevin we all know best, = Will o' the Wisp (Scherzo-Toccatina). Rather nice, before we launched into the = .. .. .   Fest-Hymnus, Opus 20, of Carl (or Karl) Piutti (1846-1902). This work, = from 1890, raised up the decibels once again, combining a bit of <Ein feste = Burg> with a touch of B-A-C-H, and why not. Piutti was at St. Thomas's, Leipzig for many years, in the shadow of the Great Man himself.   This was the first time I had heard Scott, but I hope it will not be the last. This was a most interesting program, not all the "usual stuff." So, thank you, Scott.     Peter Stoltzfus, Otterbein United Methodist Church Lancaster, PA, June 24th, 2003   We not only heard a fine recital today, but we also witnessed a = homecoming. Peter, whom I have known since his days at Trinity Church, New Haven, and = on through St. Thomas Fifth Avenue, and then Plymouth Church of the Pilgrims, where after two important and hard-working assistantships, he finally = became his own boss. He got the Gold Bug, moving to California for a year, but = now he is back, and ready to take on the great work at All Saints' Church, Worcester, Massachusetts. What better person to go to All Saints' than Peter, who knows what has to be done there to continue in the footsteps of the late Ron Stalford (I still find it hard to say that) who died too soon not many months ago. It is said, and by some contested, that the choir of men and boys in that church is the oldest such choir in the U.S. still in existence. But today was concerned with something else. Peter was = returning to the church in which he grew up, and where, for a time, he became = Organist and Choirmaster before heading east. He introduced to us the lady who was his teacher and exemplar at Otterbein, and later in the program, played a piece that she had played all those years ago, a piece that turned him on = to the Organ. He played this piece, a Chorale Improvisation on the tune <Deo Gratias> by Paul Manz, and he managed to play it using the same = registration that his teacher had used. The Organ is Skinner Opus 805 from 1930. It has four divisions, the usual three with a small two stop Echo, all of this in only 25 stops, 28 ranks.   The program began with the David Johnson Trumpet Tune in D, a very neat performance indeed, making use of the Great Tuba (enclosed in the Choir box).   Here, we heard the Paul Manz piece mentioned above, the piece he = remembered his one-time teacher playing, and her registration. For your interest, = here is what she (and he) used. For the accompaniment on the Swell, Flute Celeste, Sw to Sw Super, Tremulant, coupled at 8 and 4 to the Pedal = Lieblich Bourdon 16 (by which I think Peter, in his notes, meant the 16' Echo Bourdon). For the solo sound, Choir Flute d'Amore 4', Unison Off, Sub and Super and Tremulant. Peter did one of the repeats on a sound not = of his teacher's performance, just so we could hear it. That was the Great French Horn and its own Tremulant. Wonderful E. M. Skinner stuff out of an era gone from us, but still available in a few places and at the hands of sympathetic Organists.   This was followed by a quite wonderful piece, unknown to me, Gavotta, by Padre Giovanni Battista Martini (1706-1784), arranged by Guilmant. Martini produced an amazing amount of music, some of it for Organ or harpsichord. This may have been one such, perhaps with a Pedal part (and maybe more) by Guilmant. This delightful music makes great demands for precision on the part of the Organist. Peter is just the person for this, and in his very complete registration sheets for the recital, given to us all, his registrations for just this piece occupy rather a lot of bandwidth. The = hard work paid off, and when it was over, Peter took a pretend drink - perhaps = a Martini!   <Requiescat in Pace> by Leo Sowerby (quoting Peter) was dedicated to = "those who went 'over there' in 1917, and did not come back. It reflects the triumph of the spirit." Peter dedicated his performance of this splendid piece to Ron Stalford. This is appropriate on several levels, not the = least of which is that Ron, after Sowerby's death, took responsibility for the promulgation and preservation of Sowerby's works. He spoke of it, wrote of it, answered a great deal of correspondence about it, and above all, = played the music for Organ and taught his choir to sing a great deal of the = choral music as well. I suspect that Peter may do some of the same. For some, Sowerby is an acquired taste, but it is American music of greatness, with = a language all its own. Long may it live on.   In small ways, it had become apparent during the recital that there was = some trouble with the old combination action. Things got worse, and almost brought the next piece to its knees. Only Peter's skill and resiliency let it happen at all, despite great uncertainty about what might occur each = time he pushed a piston. This was the Allegro from the Widor Fifth Symphony, = and despite the troubles, there was much excitement generated by the performance.   One of the not too many composers in the tradition of the United Brethren = in Christ denomination was Edmund S. Lorenz (1854-1942). In 1890, he established the famous Lorenz Publishing Company, music publishers. He was also at one time President of Lebanon Valley College, and a strong = supporter of Prohibition, but was not all bad! We sang now one of his hymn tunes, = with a text also possibly by him: "Tell it to Jesus." It is in the Gospel Song tradition, and the convention no doubt gave it one of the best = performances of its life. We were unrestrained in our enthusiasm, and then were = similarly unrestrained in saluting Peter Stoltzfus for his good work past and = present, including his fine performance of this evening. A note in his biography in the Handbook mentions that Peter is "active as a composer," with works published by Oxford University Press. These should be easy to find, and = this is something I intend to do.     Karl Moyer, St. Joseph Roman Catholic Church Lancaster, PA June 24, 2003   Somewhat unusually, this evening's concert by Karl Moyer put the singing = of the hymn first, "Holy God, we praise thy Name," to a tune the composer of which is unknown. We were invited to sing only the first four stanzas, = which we did, but were also invited to sing only in unison, which we did not! = Many of us tend not to obey that particular order, especially with the four = parts staring us in the face. The key was such that, while the sopranos did not have much fun, I, along with many other struggling baritones, was able to sing alternately stanzas as a bass and as a tenor. Karl established his credentials, as if he had to, as a consummate accompanist for a singing congregation. Not many are so established!   Dr. Moyer spent much of his long career on the faculty at Millersville University, while serving several major parishes in the area, most = recently Grace Lutheran Church in Lancaster, from which he retired a year ago. He holds degrees from Lebanon Valley College, Union Theological Seminary, Temple University, and has his doctorate from Eastman. He has run the = Boston Marathon!   The Organ, not by the way, is a fine Barckhoff instrument from 1891, with mechanical key action and pneumatic stop action. At 26 stops, it is a = quite complete two-manual, anchored by a not slender 16' Double Open and a 16' Trombone, the latter added by James McFarland in 1985 at the time of a general restoration. Columbia Organ Works later added a new blower and did further restoration work. These conventions, organized with knowledgeable people from the area, take us to great treasures like this one, Organs we would never have found on our own.   For starters, we heard the Bach Prelude & Fugue in G (BWV 541), which I thought a bit on the fast side. The performer, however, was equal to the task. The Fugue really wanted a bit more space. Near the end, we had a = fine surprise cadenza, presumably of Dr. Moyer's making, after which, stops = were added to take us to a firm and satisfying ending.   Next came for me a wonderful surprise: Ronde Francaise, Opus 37, Leon Boellmann, a sparkling, bouncy piece, in this case, played spectacularly with a delightful registration. It was a real hit with me, and everyone else, I am sure.   As the Dew From Heaven Distilling, Joseph Daynes, (1851-1920), arr. Alexander Schreiner. Daynes, from England, was the first Mormon Tabernacle Organist (at age 16!), and composed a number of tunes now sung regularly = by Mormons. This very serene and beautiful melody is to a hymn heard at the close of the famous Tabernacle broadcasts.   We next heard three movements from Sonata No. 5 in C Minor of Guilmant, 1. Allegro appassionato, 4. Recitativo, and 5. Choral and Fugue. This is big, great stuff, wanting a major technique and much musical <panache,> all present in abundance in this exciting performance. Enthusiastic applause brought us to the intermission.   Another lovely surprise to me: Adagio & Fugue for Violin & Organ, Josef Rheinberger, Opus 150, No. 6. The very young violinist, Scott Hohenwarter, played beautifully, with all the nuance and expressiveness that this = lovely Romantic work wants. Move over, Josh!   We next heard Wir glauben all' in einen Gott,Vater, attributed to Johann Ludwig Krebs. One wonders if this is a piece formerly attributed to J. S. Bach. This fine piece is certainly not downgraded by the change.   Two Bach two-part inventions, with an added voice by Max Reger! No. 3 in D and No. 14 in B Flat. Let me tell you, these are really ravishing, and if you know the Bach inventions, then all the more so. As I write this, I = have just heard Paul Jacobs play five of these at St. Peter's Lutheran Church = in Manhattan, labeling them as coming from <Die Schule des Triospiels fuer = die Orgel,> and adding a credit to Karl Straube as well as Reger.   From Three Impressions, Opus 72, Sigfrid Karg-Elert, we heard the lovely Claire de Lune.   The program closed with two settings of <Wie schoen leuchtet der Morgenstern>, the first by Paul Manz. The second, the stupendous setting = by Max Reger, a grand, high octane performance, sending us out into the night most cheerfully. What a great program. Also, what a great Organist, a man who had much to do with the success of this convention, and still had time to give us this evening.   Thus ended the fifth full day of this great convention.                                                  
(back) Subject: Worcester Mass. USA organ concerts From: "Judy A. Ollikkala" <71431.2534@compuserve.com> Date: Mon, 6 Oct 2003 17:15:16 -0400   Concerts for Oct. and Nov. in Worcester MA   Wednesday, October 8, 2003 =96 7:00pm Peter Lea-Cox, Organist (London). Trinity Lutheran Church, 73 Lancaster Street, Worcester. Music of Buxtehude, Byrd, Bach, Tunder, Wesley, Howell= s, Elgar, and several original compositions and improvisations. Donations accepted, reception following concert.   Sunday, October 19, 2003 =96 3:00pm John Grew, Organist (McGill University, Montreal). St. Joseph Memorial Chapel, College of the Holy Cross, Route 290 Exit 11, College Square, Worcester. Admission free, handicapped accessible. 508-793-2296.   Wednesday, October 29, 2003 =96 7:30pm Worcester Cathedral Choir of Men and Boys (England) in concert. All Saint= s Church, Irving and Pleasant Street, Worcester. General Admission $10.   Tuesday, November 4, 2003 =96 7:30pm WORCESTER AGO CHAPTER EVENT Thomas Trotter, Organist (Birmingham, England). Wesley United Methodist Church, 114 Main Street, Worcester. 1928 E. M. Skinner, Opus 615. Tickets= : $20; AGO members $15. For tickets, call 508-799-4191 x107, or send check = to AGO, Worcester Chapter c/o Wesley UM Church.   Friday, November 7, 2003 =96 8:00pm William Ness, Organist. First Baptist Church, 111 Park Avenue, Worcester.=   Music by Reger, Alain, Jongen, Dupre. Admission free. 508-755-6143.   Sunday, November 23, 2003 =96 3:00pm Dong-ill Shin, Organist (Boston, MA). St. Joseph Memorial Chapel, College=   of the Holy Cross, Route 290 Exit 11, College Square, Worcester. Admissio= n free, handicapped accessible. 508-793-2296.   Judy Ollikkala  
(back) Subject: Re: OHS 2003 - 5th Full Day - 6/24 From: "John L. Speller" <jlspeller@mindspring.com> Date: Mon, 6 Oct 2003 21:18:57 -0500     ----- Original Message ----- From: "Malcolm Wechsler" <manderusa@earthlink.net> To: "Pipe Chat" <pipechat@pipechat.org>; "Pipe Organ List" <PIPORG-L@listserv.albany.edu> Sent: Monday, October 06, 2003 12:17 PM Subject: OHS 2003 - 5th Full Day - 6/24     > OHS 2003 Convention, South Central Pennsylvania > Fourth Full Day, Tuesday, June 24th. > > Gerald E. Mummert, York County Historical Society Museum > Tuesday, June 24th, 2003. > There is a > Tierce in the Mixture, which gave off some of the missing reedy quality.   The original trumpet may well have had wooden resonators. There are (or used to be) a couple of early wooden Pennsylvania reed pipes in the Henry Ford Museum in Dearborn.   Ray Brunner did a fine job of detective work in establishing what the original composition of the mixture had been. It was fortuitous that the original rackboard had survived, and that Tannenberg had antedated Topfer = by more than fifty years in using constant scaling and seventeenth-note halving, enabling Ray to determine the mixture composition by establishing which pipes would fit. There is evidence from elsewhere that Tannenberg used tierce mixtures, notwithstanding that he was one of the first organbuilders in the world to adopt equal temperament. If anyone thinks Colonial America was a backwater in organbuilding, they are WRONG.   John Speller    
(back) Subject: Monday night chat! From: "Eric McKirdy" <emckirdy@gladstone.uoregon.edu> Date: Mon, 06 Oct 2003 18:28:15 -0700   Many of our number have made haste to Atlanta, but a few of us are still here! Join us in the chat room, won't you?   Eric -- this is a lot better than writing about the higher functions of music theory, don't you think?