PipeChat Digest #4042 - Wednesday, October 8, 2003 Speaking of Chamades by "Stephen Williams" <email@example.com> Re: Speaking of Chamades by "F Richard Burt" <firstname.lastname@example.org> Please, help me understand this artist by "Walter Greenwood" <email@example.com> Re: Please, help me understand this artist by "Arie Vandenberg" <ArieV@ClassicOrgan.com> Re: Please, help me understand this artist by <Keys4bach@aol.com> Jelani Edddington Plays Rochester Wurlitzer on October 12 (cross-posted) by "Kenneth Evans" <firstname.lastname@example.org> Does anyone know... by "Shelley Culver" <email@example.com> Re: Does anyone know... by "Alan Freed" <firstname.lastname@example.org> Howell organ in Dixon, IL by <Gfc234@aol.com> David Shrader (was Howell organ in Dixon, IL) by "Alicia Zeilenga" <email@example.com> Re: David Shrader (was Howell organ in Dixon, IL) by <Gfc234@aol.com> bach's chaconne for unacc. vln by <BlueeyedBear@aol.com> Re: bach's chaconne for unacc. vln by "Del Case" <firstname.lastname@example.org> Re: bach's chaconne for unacc. vln by <BlueeyedBear@aol.com> REHEARSING WITH ORGAN AND SINGING FLAT (x post) by <ScottFop@aol.com> Funny letter, Cinti Museum Center by "Charles Peery" <email@example.com>
(back) Subject: Speaking of Chamades From: "Stephen Williams" <firstname.lastname@example.org> Date: Tue, 7 Oct 2003 09:08:38 -0400 Dear Listers, I know it's VERY short notice for those in the eastern PA area, but I = would like to announce a concert that yours truly is playing today at = 12:10 p.m. This is the opener of a series of noon concerts on Tuesdays = in the months of October and April that have been ongoing since 1991. Today's "theme" is a program of Fanfares and Frolics giving limelight = and center stage to the Festival Trumpet (16 & 8) that is mounted = horizontally in the the ceiling of St. John's some 80 feet above the = floor at the crossing. Visually, it's rather stunning to look at with a = main center fan-like shape flanked by two smaller copies on either side. = We have recently refurbished this "Party Horn in the Sky" and it's = presence is certainly not to be ignored by sight or sound. The program, while attempting to avoid the standard trumpet tunes, will = hopefully be fun for the audience: Fanfare and Theme from the 1984 = Olympics (John Williams), Voluntary in C Major (Purcell), Roulade (Seth = Bingham), Solemn Melody (Walford Davies, freely arr. by Robert Tall), = Salamanca (Guy Bovet), Hornpipe Humoresque (Noel Rawsthorne), Fanfare on = America the Beautiful (Matthew Corl). Concerts for the remainder of the month will be performed by Mark = Mummert (Oct 14), Gloria Snyder (Oct 21), and Mark Anderson (Oct 28). = The next evening concert will be Gordon Turk on Friday, Nov 7 at 7:30. = Hope some of you can make the trip to Allentown. =20 Stephen Williams Organist, St. John's Lutheran, Allentown PA College Organist, Muhlenberg College
(back) Subject: Re: Speaking of Chamades From: "F Richard Burt" <email@example.com> Date: Tue, 7 Oct 2003 08:20:42 -0500 Hello, Stephen, et al: Would love to be with you today. When you play today, the Solemn Melody is one of my most favorite pieces of music. May God, Himself, embody this piece for you. I have two questions: 1. How is that spacial trumpet tuned? Being 80 feet up in the center of the room leaves much to be desired for "ready access" by the tuner. <grins> 2. If you record this recital, may I get a CD or it? ...just because you are playing the Solemn Melody. F. Richard Burt ..
(back) Subject: Please, help me understand this artist From: "Walter Greenwood" <firstname.lastname@example.org> Date: Tue, 07 Oct 2003 11:02:58 -0400 Ok, Glenda, It has been slow, so I'll stir things up a bit. I felt = masochistic yesterday, and so decided to give another listen to a disc of Bach played mainly on the Duke Flentrop by Wolfgang Rubsam. I know some members of this list love what he does, but I sure don't understand him at all, so = I'd like to read what you all have to say - please tell me why this should = sound good to me. Open mindedly, -WG > "Glenda" <email@example.com> wrote > > Is it slow on the list in the last day or so, or have I inadvertently > diverted my PipeChat mail to the junkmail or something?
(back) Subject: Re: Please, help me understand this artist From: "Arie Vandenberg" <ArieV@ClassicOrgan.com> Date: Tue, 07 Oct 2003 11:24:21 -0400 At 11:02 AM 2003-10-07 -0400, you wrote: >Ok, Glenda, It has been slow, so I'll stir things up a bit. I felt >masochistic >yesterday, and so decided to give another listen to a disc of Bach played >mainly on the Duke Flentrop by Wolfgang Rubsam. I know some members >of this list love what he does, but I sure don't understand him at all, = so I'd >like to read what you all have to say - please tell me why this should = sound >good to me. > >Open mindedly, >-WG Walter, I assume you are listening to the Naxos recording of his Bach. If you = have a Phillips recording of the same piece that he did maybe 20 + years ago, you will hear a big difference. Why the difference? I think it is mostly = cerebral. Bach becomes a great mental exercise, so every phrase or phrasing becomes a big event. And it can become distracting and annoying in the extreme. Some of his Naxos Bach recordings are wonderful, like his = Concertos and Trios ( on the Flentrop in Seattle), and the Trio Sonatas ( Schnitger in Groningen), but his Preludes and Fuges, etc., most of them I just can't take. I do like his renderings on the Phillips cycle much = better. Another organist who drastically changed his playing style was Daniel Chorzempa. His first Bach recording was dynamite, his later ones very = slow and ponderous. And it certainly was not because he didn't have technique. I think it was a maturing process, and a re-thinking of how he = approached Bach. I happen to think that Bach was a colourful virtuoso, and I think his = works sound best when played that way. The other thing is that scholarship regarding historically accurate = playing is constantly in a state of flux. At one time Walcha and Biggs were good, = then it was Alain, Chapuis, Isoir, Hurford etc. Now it seems to be Koopman, Rubsam, Preston. And even then they don't sound near the same. Certainly Walcha and Biggs are not considered leading edge interpretations these days. Walter, if you don't like Rubsam on the Flentrop, I would suggest a different CD. After all music is meant to be enjoyed. ArieV. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Arie Vandenberg Classic Organbuilders ArieV@ClassicOrgan.com Tel.: 905-475-1263
(back) Subject: Re: Please, help me understand this artist From: <Keys4bach@aol.com> Date: Tue, 7 Oct 2003 13:17:10 EDT In a message dated 10/7/2003 11:24:39 AM Eastern Daylight Time, ArieV@ClassicOrgan.com writes: > Certainly Walcha reigns supreme.... dale in Florida
(back) Subject: Jelani Edddington Plays Rochester Wurlitzer on October 12 (cross-posted) From: "Kenneth Evans" <firstname.lastname@example.org> Date: Tue, 7 Oct 2003 13:38:31 -0400 The Rochester Theater Organ Society is very pleased to present Jelani Eddington's performance on our 4/23 Wurlitzer this coming Sunday = afternoon, October 12 at 2:30 PM. This event takes place in Rochester's newly = remodeled Auditorium Center at 875 East Main Street. (You will be pleased to note = that the theater remodeling includes all new seats, new carpeting and new restrooms.) Driving directions and much more may be found on our homepage at http://theatreorgans.com/rochestr/ . Tickets are only $15 each at the = door. You are invited to join us for a Sunday afternoon of wonderful theater = organ musical entertainment. Ken Evans, RTOS Director
(back) Subject: Does anyone know... From: "Shelley Culver" <email@example.com> Date: Tue, 07 Oct 2003 17:08:12 -0400 Hello Pipechat buddies! Does anyone know where the OHS convention is in 2005? I know this summer's is in Buffalo (yay for the hometown!) Thanks-- Shelley
(back) Subject: Re: Does anyone know... From: "Alan Freed" <firstname.lastname@example.org> Date: Tue, 07 Oct 2003 17:39:43 -0400 On 10/7/03 5:08 PM, "Shelley Culver" <email@example.com> wrote: > Hello Pipechat buddies! > > Does anyone know where the OHS convention is in 2005? I know this > summer's is in Buffalo (yay for the hometown!) > > Thanks-- > Shelley You think THAT's neat, Shel? (Well, it IS, and I'm glad about that.) But do you know that there is an organ builder/maintenance man of high regard = in the community, in central New York state named CULVER? (In his case, it = is his "given" name.) And he just happens also to be an Episcopal priest, serving a parish for several decades! My guess is that you'll meet in in Buffalo. Details on request. Alan
(back) Subject: Howell organ in Dixon, IL From: <Gfc234@aol.com> Date: Tue, 7 Oct 2003 19:50:35 EDT Hello Everyone, Some time ago, I discussed the wonderful Howell organ in Dixon, IL. Well, = now all of you can hear it on-line. David Schrader's website has a a = recording of him playing the Reger Fantasia and Fugue in D minor-op. 135. This is a = recording of a live performance that I attended 2 years ago-it was played = from memory, with no registration assistant. David is one of the finest = keyboardists and musicians in the world, and we are lucky to have him in Chicago. The website is: davidschrader.com Take a listen folks! Gregory Ceurvorst M.M. Organ Performance Student Northwestern University Director of Music and Organist St. Peter's U.C.C. Frankfort, IL 847.332.2788 home 708.243.2549 mobile firstname.lastname@example.org
(back) Subject: David Shrader (was Howell organ in Dixon, IL) From: "Alicia Zeilenga" <email@example.com> Date: Tue, 07 Oct 2003 18:58:34 -0500 Does David Shrader perform everything from memory? I heard him when he was in Champaign last January playing on the Schlicker at Emmanuel Episcopal; however, the console was not visible to the audience. Alicia Zeilenga Sub-Dean AGO@UI "Santa Caecilia, ora pro nobis" -----Original Message----- From: Gfc234@aol.com To: firstname.lastname@example.org Date: Tue, 7 Oct 2003 19:50:35 EDT Subject: Howell organ in Dixon, IL > Hello Everyone, > Some time ago, I discussed the wonderful Howell organ in Dixon, IL. > Well, > now all of you can hear it on-line. David Schrader's website has a a > recording > of him playing the Reger Fantasia and Fugue in D minor-op. 135. This > is a > recording of a live performance that I attended 2 years ago-it was > played from > memory, with no registration assistant. David is one of the finest > keyboardists > and musicians in the world, and we are lucky to have him in Chicago. > The > website is: > davidschrader.com > > Take a listen folks! > > Gregory Ceurvorst > M.M. Organ Performance Student > Northwestern University > Director of Music and Organist > St. Peter's U.C.C. Frankfort, IL > 847.332.2788 home > 708.243.2549 mobile > email@example.com >
(back) Subject: Re: David Shrader (was Howell organ in Dixon, IL) From: <Gfc234@aol.com> Date: Tue, 7 Oct 2003 20:43:10 EDT In a message dated 10/7/2003 7:00:21 PM Central Daylight Time, firstname.lastname@example.org writes: Does David Shrader perform everything from memory? I heard him when he was in Champaign last January playing on the Schlicker at Emmanuel Episcopal; however, the console was not visible to the audience. Alicia Zeilenga Sub-Dean AGO@UI "Santa Caecilia, ora pro nobis" I would say yes-the majority of the times I've seen him, he selects not to = use music on most of the program. Gregory Ceurvorst M.M. Organ Performance Student Northwestern University Director of Music and Organist St. Peter's U.C.C. Frankfort, IL 847.332.2788 home 708.243.2549 mobile email@example.com
(back) Subject: bach's chaconne for unacc. vln From: <BlueeyedBear@aol.com> Date: Tue, 7 Oct 2003 21:31:45 EDT a few years ago i heard a recording of bach's chaconne for unaccompanied violin played as an organ transcription. i don't recall who played it, = but the announcer said it was transcribed around 1898. does anybody know who did = it (it wasn't lemare) and most importantly, does ANYBODY have the score?? thanks, scot
(back) Subject: Re: bach's chaconne for unacc. vln From: "Del Case" <firstname.lastname@example.org> Date: Tue, 07 Oct 2003 19:10:55 -0700 BlueeyedBear@aol.com wrote: > > a few years ago i heard a recording of bach's chaconne for unaccompanied > violin played as an organ transcription. i don't recall who played it, = but the > announcer said it was transcribed around 1898. does anybody know who = did it (it > wasn't lemare) and most importantly, does ANYBODY have the score?? > > Could it have been an adaptation of the Busoni piano transcription? Del W. Case Pacific Union College
(back) Subject: Re: bach's chaconne for unacc. vln From: <BlueeyedBear@aol.com> Date: Tue, 7 Oct 2003 23:18:12 EDT In a message dated 10/7/03 7:04:34 PM Pacific Daylight Time, email@example.com = writes: << Could it have been an adaptation of the Busoni piano transcription? >> i don't know. but busoni's name wasn't mentioned, or i would have = recognized it.
(back) Subject: REHEARSING WITH ORGAN AND SINGING FLAT (x post) From: <ScottFop@aol.com> Date: Wed, 8 Oct 2003 02:55:47 EDT Hello All. I am faced with a unique problem here in my new parish that I need some professional advice with. Let me preface just a bit. The choir has rehearsed with the organ for, literally, the past two to = three decades and, possibly, beyond. The lady who played was never trained and really didn't have experience as a professional organist. She was in the = post for 41 years and just retired. I am not too sure that she wasn't using = celestes on occasion when they rehearsed and sang. My immediate "director" = predecessor really wasn't a trained choral person and was moving away from what we = refer to as "real music" in favor of keyboards and guitars. Never fear! I have = been hired as Organist-Chormaster, intentionally, a new pipe organ project = is underway and the parish wanted a return to traditional music and organ and = choir. When I arrived last April we had roughly 11-12 people. Over the summer we = were given a very nice and rather live rehearsal room with risers and a = grand piano. It's really quite nice considering the Parish never had any = rehearsal space at all before now. Since beginning rehearsals in late August we are = now up to 25, but are faced with a very interesting and different sort of = problem that I have never really encountered. As a result of their years of rehearsing solely with organ and doing very little a capella if any, they sing flat. If we sing four measures a = capella, they almost always go flat by the third beat of the first measure. And = it's mostly the tenors that are bringing the entire choir down. That is fairly = obvious. Being a tenor myself with absolute perfect pitch this is = especially perplexing to me. The breakdown of numbers is basically as follows without roster in hand: 10-11 sopranos, 7 altos, 2 tenors and 2 basses. Ain't that typical? hahah! I have three men in the wings to join, and = had one soprano agree to move to alto who actually has past alto experience. = Even though the numbers are rather unbalanced, the sound is not, by any means whatsoever. And, from day one I have been working with the choir and = especially the sopranos in NOT singing with a preponderance of vibrato. They are = catching on rather well in that aspect as well. It's pretty amazing, and they are = GOOD readers and singers! But this pitch thing is a problem I don't know what = to do about. Even with accompaniment they don't quite sing up to the pitch as they = should, and, again, the tenors are especially problematic in this area. I fully believe that next year will see the implementation of four professional section leaders, but for this year we are building a = foundation and moving ahead in growing the program and really learning how to sing and use the voice. So, my question: what exercises and vocalizes (and whatever else) can I = use to get their intonation and tuning together, more accurate and consistent? The attitudes of these people are so wonderful though, they want to work, they are enthusiastic and truly care about their sound and what we are = doing. This past Sunday we celebrated, with permission of the local ordinary and = in anticipation of the actual feast which was today, the Feast of Our Lady of = the Holy Rosary, the patronal feast of the parish. They sang Arcadelt's "Ave = Maria" as one of their pieces and really did rather well with it. One could have = heard a pin drop in the church during their singing because the = congregation isn't used to hearing the choir sing real repertoire in a Liturgical = setting, but they better get used to it! haha We are blessed with about 4 seconds of = reverberation and it is a stunningly beautiful acoustic for music. = Anyway, as a rule, they need help with the pitch issue. Having never dealt with = anything like this, I really could use some helpful advice on how to get them to = stay on pitch and not go flat. Any and all help will be greatly appreciated! Lastly, is anyone has any further advice/technique on getting the current vibrato to lessen even more and continue doing so, I would really = appreciate hearing learning that as well. I thank you all so very much! -Scott in Memphis Scott F. Foppiano Cantantibus organis Caecilia Domino decantabat.
(back) Subject: Funny letter, Cinti Museum Center From: "Charles Peery" <firstname.lastname@example.org> Date: Wed, 8 Oct 2003 04:22:38 -0400 I got a letter from the Cincinnati Museum Center. One page, the salutation is "Dear Organist." "Cincinnati Museum Center... is seeking to establish a group of four or five "on call" organists to play the 1929 E.M. Skinner symphonic concert organ in the rotunda for special events.... Applicants should be well versed in patriotic and light cocktail music and will seldom, if ever, be asked to play serious organ repertoire. The organists will also need to be able to improvise "traveling" music to cover interludes in formal services and to meet special requests at cocktail parties. The availability of the organ for practice is limited to early morning and late evening due to activity in the rotunda, and requires staff to move and set up the instrument, all at considerable expense. We will make time for the selected organists to become familiar with the instrument when first appointed. After that, there will be little opportunity for practice and many of these events will have to be played without additional access to the instrument for preparation. As many of these events are planned at the last minute, the individuals need to be flexible in availability and ability to adapt to the musical needs with little preparation or advance notice. A guaranteed minimum payment will be made, with the final amount varying according to the demands of the specific event... Those interested in being considered for these events should send an application to Ms. Ruby Rogers, Cincinnati Museum Center at Union Terminal, 1301 Western Avenue, Cincinnati, OH 45203. Please include a resume, a list of repertoire that would be appropriate for the various types of occasions, and a tape or CD demonstrating some of the repertoire and including an example of an improvised segment of music. The entries will be screened by a panel based on the criteria listed above and finalists will be invited to play the organ for the panel, which will make the final decision on those to be selected." "On call"? No practice? Cocktail music? Events planned at the last minute? Little advance notice? "Minimum" payment? Resume, repertoire list, and CD required? Doesn't this seem like a lot of hoopla in order to eventually be treated worse than the hired wait staff? I thought it was funny at first, then I just thought it was stupid and insulting. Chuck Peery Cincinnati