PipeChat Digest #4073 - Monday, October 27, 2003
 
Re: Diction is NOT Spitting
  by <OrgelspielerKMD@aol.com>
Re: chiff
  by "John Foss" <harfo32@yahoo.co.uk>
Michael Velting opens new Lively-Fulcher Organ in Nashville (long)
  by <DarrylbytheSea@aol.com>
So Cal fire (X-posted)
  by <quilisma@cox.net>
Filing music
  by "David Baker" <dbaker@lawyers.com>
Re: So Cal fire (X-posted)
  by "bnorth" <bnorth@intergate.ca>
Re: chiff
  by <RonSeverin@aol.com>
So Cal fires - images from space (x-posted)
  by <quilisma@cox.net>
Electronic organ needed
  by "Eliot Hunter" <eliothunter@yahoo.co.uk>
London Organ Forum
  by "Eliot Hunter" <eliothunter@yahoo.co.uk>
RE: Filing music
  by "Glenda" <gksjd85@direcway.com>
re: Filing music
  by <RMB10@aol.com>
Felix Hell Wins the Battle of Queensbury
  by "Stephen Best" <sbest@borg.com>
IRC tonight
  by <quilisma@cox.net>
 

(back) Subject: Re: Diction is NOT Spitting From: <OrgelspielerKMD@aol.com> Date: Mon, 27 Oct 2003 15:13:01 EST   I would like to first say that this article was well done, Mr. = Gluck. As well, I would like to tell a little story. I was at my teacher's house = the one night after our lesson. I had just finished eating dinner. He said = to me, "Chris, I will play a CD of an organ for you, and then you tell me = when it was built." I agreed. He played it, and it was a fine sounding = instrument. I was sort of puzzled, though because it was hard for me to guess. So I = asked if I could give a time period. He agreed. I thought the thing that would =   really help me out would be to know if it was before the 20th century. = Mr. Roberts, my teacher, then said it was. Then I had thought, well it is = clear and bright, yet rather romantic sounding. So, I was puzzled. I thought it = had to be German, though from what time. So, I was clueless, and therefore I = just guessed about 1850 or so. He then told me it was from the Baroque period = (he gave an exact date, though I can't recall it). I was SO surprised because = of misconceptions handed down to me by other people who thought they knew = what they were talking about. Then he even said that Bach, himself, designed it. = My eyes were like 500-watt light bulbs mainly because it sounded MUCH more romantic then what I had expected from that time, let only Bach (being = certain misconceptions still in my mind) . The moral of the story is, take = everything that anyone says with a grain of salt, unless they can prove it to you by supporting facts or the fact that they played a certainly instrument = concerning the question. I recall once (getting off the subject) that once some said = something on pipechat like, "The pedalboards in Bach's time were like our modern-day =   Hammonds with pedals that are about 6 inches in length." This was to = support all toes in Bach. However, this person was obviously terribly misinformed as there were such pedals boards, however, they were on french classical = organs, not german baroque. In fact, my teacher played the only pedalboard surviving from Bach's time which it was quite comfortable to use heels on. He also = wrote a huge essay, as well on the subject. Thanks for your time, and I hope you enjoyed the story!   Sincerely, Christopher J. Howerter, SPC Director of Music and Organist St. Paul's Lutheran Church Bethlehem, PA cell: (610) 462-8017   In a message dated 10/27/03 5:02:22 AM Eastern Standard Time, pipechat@pipechat.org writes:   > Subject: Spitting is NOT diction > From: <TubaMagna@aol.com> > Date: Sun, 26 Oct 2003 20:23:30 EST > > Ahhh, yes. > Chiff. > The parody of articulate pipe speech onset. > There is an enormous difference between a pipe that speaks with a = subtle > consonant before its steady-state vowel, and one that is so crudely = "voiced" > > as to not even develop pitch or speech or steady state when repeated. > The aggravating irony of this has always been that along with pipes so =   > poorly regulated at their untreated languids that they do not develop = tone > comes > the school of organ playing that views printed notes as unrelated = entities. > Immature, all-detached playing, in which there is no melodic line or = phrase > shape, still remains the style of choice for some people, and we are = left > with > clipped notes, played too quickly, on asthmatically coarse instruments = that > never develop beautiful, singing tone. > It is amazing that somebody can spend four semesters studying (and > teaching!) counterpoint, and still play Bach vertically, not = horizontally. > How many advocates of hyper"chiff" have heard and examined antique, > UNaltered pipework? > How many of the super-detatched, staccato school would permit their > choirs to sing that way, or perform instrumental ensemble music that = way? > If we do not treat organ music as real music, it will not be regarded = as > such by those outside our field. > > Sebastian M. Gluck > New York City > > ---------------------------------------------------------------------- >      
(back) Subject: Re: chiff From: "John Foss" <harfo32@yahoo.co.uk> Date: Mon, 27 Oct 2003 20:54:35 +0000 (GMT)   Dear list, I agree that an unvoiced flue stop - or any other for that matter - is unlikely to be a pleasing sound - and never having visited America I cannot speak for the instruments there - but the tracker action organs I have played in the UK, from early English to the 70's are not, as a rule, unpleasant. Do you have any specifics in mind? I have already mentioned some of them - the 1965 J W Walker tracker action "Chaplin" organ in the old RCO building - 3 + 2 + 3 - was a delight to play. Wind on 1 3/4 ins. Legato no problem. Grant Degens & Bradbeer at York University. New College Oxford, Cranleigh School. All Fine instruments. Of course any good organist must be able to play legato - the music has to sing - but visit Germany or Austria and play some of the tracker instruments there. Holland. Denmark. How much "nicking" does Frobenius put in his pipes? I am not a voicer and given a pipe would probably ruin it completely, but I recognise the voicer's art when I hear - and see it. I am not quite sure where this is going, actually, but when we get two leading list members taking a definitive line on such a matter may I ask for something a little more specific? It is simplistic to say that a pipe sound must have a beginning, a middle and an end - but that is what it comes down to. What goes on between and how all the harmonics blend together is another chapter. Father Smith produced beautiful sounds on low wind pressure with a hint of chiff at the start, if my memory serves me right. The ongoing sound was .... adjectives fail me. They all sound so trite, but this is near perfection. John Foss   =3D=3D=3D=3D=3D www.johnfoss.gr http://groups.yahoo.com/group/orgofftop/ Topics of the week : Farewell to an era - Concorde says goodbye 50 years ago Menu of the week : Moussaka   ________________________________________________________________________ Want to chat instantly with your online friends? Get the FREE Yahoo! Messenger http://mail.messenger.yahoo.co.uk  
(back) Subject: Michael Velting opens new Lively-Fulcher Organ in Nashville (long) From: <DarrylbytheSea@aol.com> Date: Mon, 27 Oct 2003 16:25:16 -0500   CkhpLCBZJ2FsbCEKCkkganVzdCB3YW50ZWQgdG8gdGFrZSBhIGZldyBtaW51dGVzIHRvIHRl bGwgeW91IGFib3V0IGFub3RoZXIgbmV3IGFuZCB3b25kZXJmdWwgb3JnYW4gaGVyZSBpbiBO YXNodmlsbGUuIFRoZSBvcmdhbiBpcyAyMDAzIExpdmVseS1GdWxjaGVyIG9mIDMtbWFudWFs cywgNjAgcmFua3MgYW5kIDU2IHN0b3BzLCBhbmQgYW5vdGhlciBmaXJzdCBmb3IgTmFzaHZp bGxlLiBUaGUgb3JnYW4gYW5kIG9ubHkgY29uc29sZSBpcyBpbiB0aGUgcmVhciBnYWxsZXJ5 LiBUaGUgcGFja2VkIGhvdXNlIChub3QgYSBmaXJzdCBmb3IgTmFzaHZpbGxlIG9yZ2FuIGNv bmNlcnRzLCBmb3J0dW5hdGVseSkgd2FzIGFibGUgdG8gZ2V0IGEgImJpcmQncyBleWUgdmll dyIgb2YgZXZlcnl0aGluZyBzaW5jZSB0aGUgQ2F0aGVkcmFsIHVzZWQgYSBjbG9zZWQtY2ly Y3VpdCBwcm9qZWN0aW9uIHN5c3RlbSB3aXRoIHRoZSBzY3JlZW4gcGxhY2VkIGluIHRoZSBj aGFuY2VsIGFyZWEuIFRoZXksIHRvbywgZGlkIHNvbWV0aGluZyB2ZXJ5IHNtYXJ0IGluIHRo YXQgdGhlcmUgd2FzIGEgc21hbGxlciBwaWN0dXJlIG9mIHRoZSBwZWRhbCBib2FyZCwgdG9l 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(back) Subject: So Cal fire (X-posted) From: <quilisma@cox.net> Date: Mon, 27 Oct 2003 13:50:16 -0800   The big flap today is that there are military resources on the ground that haven't been activated because outgoing Gov. Davis hasn't made the requisite phone call.   No sign of Gov. Terminator (grin).   The racetrack and the fairgrounds at Del Mar have opened their barns ... they can take up to 700 horses; they have about 500 now; Mary's Tack and Feed is donating food and coordinating the evacuation of the animals.   Some evacuation centers have had to be moved three times now as the fires continue to spread.   Only in California: volunteer chiropractors and massage therapists in the parking lot at Qualcomm Stadium.   They're now issuing contaminated water warnings in East County because of toxic ash falling in the reservoirs. We don't use tap water for drinking anyway, so we have about a dozen cases of 1-gallon bottles of purified water on hand.   IF the winds don't kick up again, they're saying Nov. 5th at the EARLIEST for CONTAINMENT; *nobody* will say how long it's going to take to put the fires OUT.   No word yet as to whether anything will reopen tomorrow or now.   This is a MAJOR environmental disaster at this point.   Bud      
(back) Subject: Filing music From: "David Baker" <dbaker@lawyers.com> Date: Mon, 27 Oct 2003 17:07:15 -0500   For me, it makes the most sense to file music alphabetically by the composer's last name. Anything more than that (e.g., by liturgical season) seems to me to be overdoing it.   On the software front, I have used the Church Music Library program created by Riden Software. It is slightly clunky to my taste, but it works and is satisfactory. http://www.riden.com   David Baker    
(back) Subject: Re: So Cal fire (X-posted) From: "bnorth" <bnorth@intergate.ca> Date: Mon, 27 Oct 2003 14:09:26 -0800   If you go to www.latimes.com, there is a picture of the fire, and two = lines underneath is a very good map of the areas effected. This summer our province (BC) experience similar fires, with over 230 homes destroyed, thankfully with no loss of life. Two months later they are still cleaning = up and rebuilding, something that will go on for many many months. Our hearts go out to all that are affected by this tragedy of nature.    
(back) Subject: Re: chiff From: <RonSeverin@aol.com> Date: Mon, 27 Oct 2003 17:08:50 EST   Dear John:   I think we need to refine what we mean by chiff. All flue pipes should have accent speech, but not so that a chuffing sound is heard in the room. E. Power Biggs recordings were so closely microphoned that it was thought that this is what was heard in the room. This resulted in organists and pipe organ builders to think that pipe cough may be a desireable and necessary part of pipe speech in any neo-baroque organ concept. Articulatory transience is one thing, but what we got in practice was pipe cough, over kill. The recordings of Italian organs so closely microphoned gave the impression that principals of very narrow scale produced a prominent "gzeruah' intonation. The speech was very slow. I have not seen any modern work except by an old friend who did this on one or two organs. It was the result of under winding where the pipe barely spoke. I'm glad that never caught on.   I must say that some of the organs Biggs played were recorded by others that were normally mic'd and didn't exhibit this noisome type of sound. This was the reason during the 50's to the 70's in some American builders that this was accepted and tollerated. As in anything, Experts were promoting exceptionally extreme ideas on organ tone, and knew next to nothing about pipe organ voicing. You either sucked it up and gave them what they thought they wanted, or they would go to somebody else. During this time, contracts were getting harder to come by, so some blinked and caved in to the notion.   It's normal I suppose that if this is all you've heard from organs you've played, then a certain amount of over kill is expected and even thought desireable when it really isn't necessary to articulate playing even on tracker organ actions.   Ron Severin    
(back) Subject: So Cal fires - images from space (x-posted) From: <quilisma@cox.net> Date: Mon, 27 Oct 2003 16:00:33 -0800   http://earthobservatory.nasa.gov/Newsroom/NewImages/images.php3      
(back) Subject: Electronic organ needed From: "Eliot Hunter" <eliothunter@yahoo.co.uk> Date: Mon, 27 Oct 2003 23:56:53 +0000 (GMT)   I just wonder if there is anyone who is willing to donate his/her unwanted = electronic organ (classical) to the chapel of a charitable organisation in = London. Please write to me directly. Many thanks. Eliot       --------------------------------- Want to chat instantly with your online friends?=A0Get the FREE = Yahoo!Messenger  
(back) Subject: London Organ Forum From: "Eliot Hunter" <eliothunter@yahoo.co.uk> Date: Mon, 27 Oct 2003 23:59:01 +0000 (GMT)   Did anyone go to this forum held by the RCO at the Academy? What do you = people think about the playing of Lionel Rogg and Ashley Wass? Eliot       --------------------------------- Want to chat instantly with your online friends?=A0Get the FREE = Yahoo!Messenger  
(back) Subject: RE: Filing music From: "Glenda" <gksjd85@direcway.com> Date: Mon, 27 Oct 2003 18:28:17 -0600   May I suggest, in the absence of a particular program that appeals to you, that you create your own Excel document/system? Then you may re-sort and organize according to composer, season, title, other fields (you create your own as you are inputting), whatever strikes your fancy.   I started my own after Bill Betts was kind enough a few years ago to show me his system. I've never finished - got through all the Bachs and the Handels and to the Ms and had to quit.   Glenda Sutton gksjd85@direcway.com            
(back) Subject: re: Filing music From: <RMB10@aol.com> Date: Mon, 27 Oct 2003 19:35:12 EST   In response to Gary Jenkins' post about music filing systems, a good = program is "Music Manager" which is put out by Music Manager Systems of = Greensboro, NC. You can contact them at www.musicmanager.com or by phone at (336) = 282-9220.   Monty Bennett    
(back) Subject: Felix Hell Wins the Battle of Queensbury From: "Stephen Best" <sbest@borg.com> Date: Mon, 27 Oct 2003 20:02:04 -0500     Have you ever been to an organ recital where you were so distracted you felt you couldn't evaluate the performance? I can think of a couple I've attended: one was marred by the presence of a television news photographer who wandered on-stage and quite literally sat on the bench with the organist, flood lights in hand, to get his video. Another was the October 24 recital by Felix Hell in Queensbury, New York, where he had been selected to play the dedicatory recital on a new 48 rank tracker instrument built by Harold DeMarse, the church's organist, his opus 7 and largest instrument to date.   Felix had been engaged for this program some time ago, was given the specification of the instrument, and planned his recital accordingly. It therefore came as a shock when at the last moment, Felix learned that the combination action was inoperable. Given the breadth of his repertoire, the necessary changes in the program were not difficult. But the combination action malfunction turned out to be the least of the problems, even though it made the dual-action stop control system in part inoperable so that stops couldn't always be drawn by hand either. As the recital progressed, we endured a never-ending progression of ciphers, mechanical difficulties, pipes which sounded as if they had never been tuned, and incomplete tonal regulation. It was clear that this organ was not finished, and if what we heard was any indication, it will be MANY months before it will be completed.   Felix was no more than a page into the first piece (the Bach E-flat prelude) when the great "Battle of Queensbury" started: a very loud F began to sound determinedly on its own. Felix valiantly kept going, but so did the loud F. He had no choice but to stop and request an adjustment by the organ builder before beginning again. From then on, the combat intensified: Felix kept playing, the organ kept misbehaving, and the organ builder and his assistant did everything but crawl into Felix's lap while trying to dislodge ciphering notes measure by measure while Felix played. In one memorable moment, we thought we had made it safely to the end of the Bach D major fugue when, just before the final pedal solo, off went a full-pedal E flat -- roaring out on its own. Felix kept playing to the end, but the sound of the E flat against those final D's was uniquely distracting. When the organ builder finally silenced the recalcitrant notes, Felix announced that because the end of the D major fugue was so wonderful, he would repeat the last pages so the piece could be better appreciated. He also made very gracious remarks about the condition of the instrument, explaining that the organ is a complex device with many possibilities for malfundtion. A well deserved standing ovation followed.   The second half of the battle went similarly -- the organ builder frantically trying to solve problems as they occurred, Felix trying to concentrate on what he was doing in the face of incredible distraction. Ciphers abounded and major out-of-tuneness became the order of the day even though there were several stops that weren't used at all because they were so far off pitch. Sadly, even the sounds we heard were rarely satisfactory. This was one of those occasions when no single rank behaved well over its entire 58 or 32 note compass, when no piece was unmarred by the instrument's misbehavior. My heart went out to both Felix and the builder as I began to think the evening would never end. The three hour drive home looked unusually welcoming!   So what can one make of all of this? (1) Felix Hell deserves an incredible amount of credit for agreeing to play this recital once he realized what he was up against. Many artists would simply have refused to work under such trying conditions. (2) Some criticize Felix Hell because he agrees to play on electronic instruments. In this case, a good electronic instrument would have been far preferable to what we endured. (3) Felix's determination to do battle in the face of terrible odds made hundreds of people happy -- especially parishioners who had contributed to the organ project and who would have been devastated had the recital been canceled. (4) The organ, which is to be this builder's showcase instrument, won no friends and supporters from among the many musicians who were present. It ought never have been given so public a hearing at this stage of its development.   Don't ask me how Felix played. I suspect it was wonderful, because I've never heard him play otherwise. But being in middle of a battle doesn't lead to relaxed listening or cogent evaluation, especially since I'm an organist well acquainted with the music being played. The important thing is that Felix did battle right to the end in the face of crippling odds. Incredibly -- he actually went back for MORE, playing an encore! Score 99 for Felix. Score minus 10 for the organ. The "Battle of Queensbury" had been a fierce one, and Felix was clearly the winner. My respect for this remarkable young performer went a few notches higher as I witnessed his kindly demeanor in the face of such great challenge. No performer could have reacted with more grace or shown a more forgiving spirit than did Felix Hell.   I still have hopes that this organ can be finished and take its place as one of the finer instruments in its area. Mr. DeMarse is noted for exquisite craftsmanship and attention to every detail, and given enough time, I can only hope that his determined effort and skill will make up for what has to be considered a major setback. However, scheduling a recital at this stage of the organ's development was a most unfortunate mistake.   Lastly, I wish more people would take seriously my number one inviolable rule for dedicatory recitals: NEVER NEVER NEVER even think of scheduling a dedicatory recital until the organ is 100% finished and has been played enough to identify and correct any problems. I have yet to attend a prematurely scheduled dedicatory recital which was other than an unhappy occasion. After last Friday, I can add one more such event to my list, although I will long remember Felix Hell's courageous determination to make the best of an impossible situation.   Steve Best in Utica, NY            
(back) Subject: IRC tonight From: <quilisma@cox.net> Date: Mon, 27 Oct 2003 17:17:46 -0800   9 p.m. US Eastern Time.   Directions:   http://www.pipechat.org/irc.html   Hope to see you there!   Cheers,   Bud, feeling rather like a smoked ham this evening