PipeChat Digest #4031 - Tuesday, September 30, 2003
  by <ScottFop@aol.com>
Re: The 32' Cornet
  by "Del Case" <dcase@puc.edu>
Re: Morning Mishaps :)
  by "Randolph Runyon" <runyonr@muohio.edu>
RTOS 2003/2004 Concert Schedule and Auditorium remodeling.
  by "Kenneth Evans" <kevans1@rochester.rr.com>
RE: The 32' Cornet
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
unison singing
  by "First Christian Church of Casey, Illinois" <kzrev@rr1.net>
  by "Glenda" <gksjd85@direcway.com>
RE: Morning Mishaps :)
  by "Glenda" <gksjd85@direcway.com>
Re: unison singing
  by "Karl Moyer" <kmoyer@marauder.millersville.edu>
RE: Rheinberger
  by "ameagher@stny.rr.com" <ameagher@stny.rr.com>
  by "ameagher@stny.rr.com" <ameagher@stny.rr.com>
OT:  Muttastery Chapel Renovation
  by "Bruce Cornely" <cremona@cervo.net>
Gillian Weir, St. Ignatius, NY 9-25-03
  by "Malcolm Wechsler" <manderusa@earthlink.net>

(back) Subject: UPCOMING RECITAL IN MEMPHIS, TN (x post) From: <ScottFop@aol.com> Date: Mon, 29 Sep 2003 16:47:41 EDT   Hello All   I wanted to notify you of a recital that I will be playing here in Memphis o= n=20 Sunday, October 19 at 4:00 PM. The recital will be at The Church of St.=20 Peter, Adams Avenue at 3rd Street in downtown Memphis. =20   As Jane Smedley, St. Peter's Organist-Choirmaster and my hostess said: this= =20 will be my "Memphis Premier Performance" since returning to my home town in=20 April. The last time I performed here in recital was in 1985.   The organ is the magnificent 4 manual Casavant-Fr=E9res which was built and=20 installed in St. Peter's Church in 1923. It is a fabulous example of that f= irm's=20 work during that period and was completely and meticulously restored by=20 Casavant in the early 1990's. It even still plays off of its sumptuous Fren= ch=20 terraced console. In addition to the organ, the church is something one sim= ply=20 must see in person. Even with the recent renovations of the Diocesan RC=20 Cathedral (that's another story all together!), those of us who have seen th= ose=20 renovations still refer to St. Peter's as "the seat of the Diocese." Just w= alking=20 in the back doors of St. Peter's define that statement.   The repertoire will include Mendelssohn, Thalben-Ball, Bach, Nevin, Langlais= ,=20 Titcomb, Franck.   It would be great to see some of you there, and I certainly do look forward=20 to performing what is actually my first serious full length recital here in=20= my=20 home town, and that is very exciting to me! If you are anywhere nearby on=20 that day, please do try to attend and hear this wonderful organ. It would i= ndeed=20 be great to see you there!   Scott F. Foppiano Cantantibus organis Caecilia Domino decantabat.    
(back) Subject: Re: The 32' Cornet From: "Del Case" <dcase@puc.edu> Date: Mon, 29 Sep 2003 15:26:02 -0700       TubaMagna@aol.com wrote: > > You will find that the Irwin book is essentially useless, and more > fictional fantasy than any type of true scholarship. > > Sebastian M. Gluck > New York City > .     Thanks for the courage to tell it like it is about the above book.   Del W. Case Pacific Union College  
(back) Subject: Re: Morning Mishaps :) From: "Randolph Runyon" <runyonr@muohio.edu> Date: Mon, 29 Sep 2003 18:29:47 -0400   Grand merci!     Randolph P. Runyon Professor of French Miami University Oxford, OH 45056 runyonr@muohio.edu             on 9/29/03 10:38 AM, Storandt, Peter at pstorandt@okcu.edu wrote:   > Let Randy be in charge of the French.... > > I can > see the newsletter already. "Organist fired: was supposed to play hymn, > > instead, went to go pee-pee....", excuse my French. > > Chuck Peery > Cincinnati > > "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: RTOS 2003/2004 Concert Schedule and Auditorium remodeling. From: "Kenneth Evans" <kevans1@rochester.rr.com> Date: Mon, 29 Sep 2003 20:05:30 -0400   The Rochester Theater Organ Society's 2003/2004 season remaining 8 concert details are now posted at http://theatreorgans.com/rochestr/ for your information. Also an update on the Auditoium Center's theater remodeling = by the Rochester Broadway Theatre League this past summer is outlined on the RTOS webpage. Exciting news!   Ken Evans, RTOS Director    
(back) Subject: RE: The 32' Cornet From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Mon, 29 Sep 2003 17:19:14 -0700 (PDT)   Hello,   I can answer this in just three words, "I have no idea."   I don't feel terribly motivated to research it due to lack of time, but I would "think" that the notes are derived from other ranks in the pedal or manual divisions. Compton perfected the "grand mixture" extension organ, and I doubt that there are any better anywhere in the world.   Sadly, there are not that many left in original condition these days, and even St.Bride's has had some tonal modifications carried out in recent years.   Derby Cathedral remains a good example here in the UK, but St Bride's, London was really in a class of its own, partly due to the fantastic acoustic of the re-built Wren designed church. The 32ft Cornets of, say, the cinema organs was usually not quite so effective due to the lack of resonance in the buildings. However, an organ near to me has a remarkably effective 32ft Cornet in a very dead acoustic, so perhaps it is not as simple an answer as I would have liked.   We MUST have a Compton specialist in our midst, surely?   Regards,   Colin Mitchell UK --- "Emmons, Paul" <PEMMONS@wcupa.edu> wrote: > What makes them so effective? > > When we were discussing resultants a year or two ago > (perhaps on PIPORG-L), someone stated that a stopped > quint rank could be as effective as open, i.e. a 32' > sound by adding a pipe actually only 5 1/3 feet > long, but physical placement was very important for > the success of such a stop. Ideally, the two pipes > making up each note should stand as close together > as possible, perhaps arranged like the ranks in a > mixture stop. Would this be part of Compton's > secret?     __________________________________ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com  
(back) Subject: unison singing From: "First Christian Church of Casey, Illinois" <kzrev@rr1.net> Date: Mon, 29 Sep 2003 20:48:10 -0500   So, Karl, if we all sing the melody, how do we decide what key to put it in? I can guarantee you that I'll want it lower than the standard hymnal version, but that will be too low for some others. The average person in the pew doesn't necessarily have a very big range.   Dennis Steckley   Every gun that is made and every warship that is launched, signifies in the final sense a theft from those who hunger and are not fed, those who are cold and are not clothed--Dwight Eisenhower        
(back) Subject: Rheinberger From: "Glenda" <gksjd85@direcway.com> Date: Mon, 29 Sep 2003 20:39:49 -0500   I know that Felix plays the Abendfriede (sp?), and I heard the Vision this summer (sort of wistful Victorian, but pretty). Does anyone else have a favorite or regular piece of repertoire from the Characterstucke (sp?)?   Glenda Sutton gksjd85@direcway.com (who is really fond of the 2d sonata, for some reason - are they sonatas? I've drawn a blank.)        
(back) Subject: RE: Morning Mishaps :) From: "Glenda" <gksjd85@direcway.com> Date: Mon, 29 Sep 2003 19:56:31 -0500   As the pretentious woman on the yacht (probably an overstatement there) stated, "Oui, oui."   The captain replied, "Not on my boat."   Glenda Sutton gksjd85@direcway.com     -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org] On Behalf Of Storandt, Peter   Let Randy be in charge of the French....   I can see the newsletter already. "Organist fired: was supposed to play hymn,   instead, went to go pee-pee....", excuse my French.   Chuck Peery Cincinnati          
(back) Subject: Re: unison singing From: "Karl Moyer" <kmoyer@marauder.millersville.edu> Date: Mon, 29 Sep 2003 23:04:40 -0400   > So, Karl, if we all sing the melody, how do we decide what key to put > it in? I can guarantee you that I'll want it lower than the standard > hymnal version, but that will be too low for some others. The average > person in the pew doesn't necessarily have a very big range. > With a very few exceptions, I think this is a non-issue as regards chorales. Of course, some other kinds of hymns have fairly wide ranges, bu= t more than not even there the issue is of tessitura, not of range. After all, even many Americans of limited vocal range can and do sing the enormou= s range of the National Anthem.   But the unison-singing discussion at hand is about German chorales, not about other hymnic musical styles, and nearly all chorales are in very comfortable range and tessitura. After all, they were written for "average persons" in German congregations who had just as much limitation of range a= s do "average" Americans.   I've led congregations in unison chorale singing for YEARS, and range i= s never an issue. Nor am I alone in this experience and success. Some of th= e problem in these discussions is the unspoken and often uncritically considered notion that "we just gotta sing hymns in four parts," but that stance denies stylistic issues that become valuable to good congregational singing. If Erik Routley, a Britisher to whom four-part singing was the standard assumption in his growing-up years, could conclude as he did about the chorales, so we can the rest of us.   It's worth adding that Pastor Dietrich Bonnh=F6ffer, in his book (in English translation) _Life Together_ clearly calls for unison singing of th= e chorales. We can assume that he knew it was possible for the "average person," in that case early and mid-20th-century German people.   You ask, "How to decide what key...?" I have never had the urge to change the keys of the chorales as they appear in _Lutheran Book of Worship_, 1978, or _Lutheran Worship_, 1982. Other hymns, yes; the chorales, no.=20   But let me share an experience: I was organist at Hilltop Chapel at Fort Knox KY during my basic and advanced training in 1962. One of the chaplains whom I served sensed (correctly) that basic trainees who came to Hilltop Chapel likely have the opportunity of getting there only 6 times in toto, and he wanted them to be able to sing well while they were there. So he'd settled on a list of about 12 or 16 hymns that we sang OVER AND OVER AND OVER, though with little repetition for any one soldier. The hymnal wa= s the old dark blue Army-Navy Hymnal edited by Dr. & Mrs. Clarence Dickinson.   I heard the guys singing not one but two octaves below written soprano pitch, except that when the melody went too low they would just sorta grunt= .. So with this frequent use of a very small number of hymns, I began to experiment transposing the hymns to various pitch levels, trying to keep th= e guys only one octave below written pitch. With the same hymns over and ove= r and over, I finally concluded that the guys sang best when the tessitura wa= s about low G in a bass singer's range to about low e in a tenor's range. One day the chaplain actually commented how he thought the guys were singin= g better! :-) =20   Transfer this to the "average" congregation. My opinion is that the tessitura should be about low d to the b above it in a soprano's or tenors range, both of those thus well within the ordinary alto's and bass' range. If a few pitches go lower or higher, no problem, and on Easter Sunday "Lyra Davidica" can go right up to high e' without a problem. "Take Me Out to the Ball Game" has the range of a 9th but a very comfortable tessitura, and the fans sing it well and in unison during the seventh-inning stretch. =20 Various hymns originally intended for four-part singing often do have ranges wider than that, sometimes encompassing the entire range of a normal soprano. (I do wonder whether Congress expected the people to sing our national anthem always in four parts!!) Such hymns do present difficulties when an entire congregation is asked to sing them in unison.   But I really think the important aspect of this discussion is the uncritical assumptions we hang on to as regards how ALL hymns should be sung, even to the extent of singing a plainsong hymn such as "O Come, O Come, Emmanuel" in four parts. (!!!) If we as musicians can do a better jo= b of artistic integrity and fidelity to the hymn in question and teach our people effectively, these issues become non-issues.   Cordially,   Karl E. Moyer Lancaster PA    
(back) Subject: RE: Rheinberger From: "ameagher@stny.rr.com" <ameagher@stny.rr.com> Date: Tue, 30 Sep 2003 00:12:32 -0400   I heard Rheinberger's 2nd organ concerto at 2 AGO regional conventions thi= s summer and loved it=2E   Andrew   Original Message: ----------------- From: Glenda gksjd85@direcway=2Ecom Date: Mon, 29 Sep 2003 20:39:49 -0500 To: pipechat@pipechat=2Eorg Subject: Rheinberger     I know that Felix plays the Abendfriede (sp?), and I heard the Vision this summer (sort of wistful Victorian, but pretty)=2E Does anyone else have a favorite or regular piece of repertoire from the Characterstucke (sp?)?   Glenda Sutton gksjd85@direcway=2Ecom (who is really fond of the 2d sonata, for some reason - are they sonatas? I've drawn a blank=2E)       "Pipe Up and Be Heard!" PipeChat: A discussion List for pipe/digital organs & related topics HOMEPAGE : http://www=2Epipechat=2Eorg List: mailto:pipechat@pipechat=2Eorg Administration: mailto:admin@pipechat=2Eorg Subscribe/Unsubscribe: mailto:requests@pipechat=2Eorg       -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web=2Ecom/ =2E      
(back) Subject: Wicks From: "ameagher@stny.rr.com" <ameagher@stny.rr.com> Date: Tue, 30 Sep 2003 00:19:12 -0400   I have done some research on the organ here and found that the stops that were poorly voiced were not built by Wicks=2E I was told by Wicks that Bi= ll Hamner did the best job possib;le but the poor construction limited what could be done=2E The organ was built in 1954 by Wicks, however it was rebuilt in 1978 by another organ company that added 9 stops that were not well constructed=2E These are the ones that won't voice=2E I just wanted = to apoplogize for my comments=2E I hadn't done my research and didn't realiz= e that it wasn't Wicks fault=2E Both this organ and the other Wicks organs = had components from other companies that they were unable to fix within the budget that the church prvoided=2E This brings up a question for you builders=2E What do you do when you are asked to do a rebuild but aren't given a big enough budget to do your best work? Do you do what G=2E Donal= d Harrison and Ernest Skinner did and refuse to put your name an instrument that is going to be sub par in the end because of lack of funds or do you take the job anyways and do your best? Thanks, I will be interested to hear your responses=2E   Andrew   -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web=2Ecom/ =2E      
(back) Subject: OT: Muttastery Chapel Renovation From: "Bruce Cornely" <cremona@cervo.net> Date: Tue, 30 Sep 2003 00:40:34 -0400   Greetings, all!! ;-)   Arf-Bitchup Molly has asked me to share some wonderful news with you.   The Baskerbeagles are happy to announce completion of the renovation of = the Chapel of All Hounds of the Muttastery of St. Dogmael (the ancient = site on our fanciful estate).   You are all invited to take a look at our special addition..... a = beautiful stained glass window high on the East Wall of the Chapel Quire = area. It was designed and crafted especially for us by the reknowned = French artiste, Barreau Bassette. It is quite exciting and I think you = will all love it as much as we do.   Although the Chapel is renovated there are still some furnishings to be = added. One especially exciting addition will be the new Duncan = Memorial Howling Machine (hoomins call them pipe organs). It is being = designed and build by the firm of Haullen, Barquen & Wolff, Ltd, of = Beagledor, Canada. We are told that the design is very unique and will = complement our lovely chapel.   The Baskerbeagles invite you all to visit < = http://members.tripod.com/brucon502 >and enjoy of moment of quiet = meditation with doG. =20   Scritchies and Haruffarrroooo-bow-ha-wow...   Bruce, for Arf-Bitchup Molly Bitchup CoAggitator Miles Canon Prescentor Degui   Bruce, with Miles, Molly and Degui in the Muttastery at =20 HowlingAcres http://members.tripod.com/Brucon502 =20 Help Some Animals Free: http://tinyurl.com/2j5i=20 and http://pets.care2.com/welcome?w=3D308025421 Get paid to shop cheap: http://bdawg.freestoreclub.com/ and = http://www.smartmall.biz?717886    
(back) Subject: Gillian Weir, St. Ignatius, NY 9-25-03 From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Tue, 30 Sep 2003 04:53:08 -0400   Gillian Weir at St. Ignatius Loyola, New York Thursday Evening, September 25th, 2003   In 1965, I was a summer student at the R.S.C.M. at Addington Palace, = outside of London. It was the year of an RSCM Triennial Choral Festival with some thousand singers in the Royal Albert Hall, in the presence of the Queen Mother. This was the culmination of our summer of rehearsals and = classwork, and the program for the festival was to include Gillian Weir, a young New Zealander, who was beginning to make a name for herself. She played some Messiaen, and I am ashamed to admit I can't recall for sure what it was, although <Dieu parmi nous> comes to mind. The theme of the event was = church music written after 1924, the year of the death of C. V. Stanford. I have the beautiful program book, and also a two LP set recording the entire festival, and I hope they will surface soon, as we are busy these days at putting our many LPs into the safety of CDs. (Thanks to old Ontario radio man Bob Conway for some advice about this!) I will then get to hear two wonders of an earlier time, one, of course, being the incredible Albert = Hall Organ. I was seated right under it, and near the console. I can still hear that sound. The other is a young Gillian Weir playing magnificently. I watched as her assistant valiantly stuffed tooth picks into the spaces around the draw stops to prevent some from moving in response to the set-at-the-factory combination system. He had to do this at various times during the performance. Resetting one's combinations is a bit of trouble sometimes, but reinstalling tooth picks is surely beyond the call of duty.   Anyway, move forward almost 40 years, and the great Organ's complete restoration in the Mander shop is almost done, and a rededication will = take place sometime in the new year. Gillian Weir has needed no restoration. = She is clearly going strong, as evidenced by her recital at St. Ignatius on Thursday night, which presented, amongst much else, four pieces that were new to me, for which I was most grateful. The very first work on the = program was one of these, and what a great beginning! Jeanne Demessieux, Te Deum - = I have heard about it, but have not heard it until now. It's a rare bird = among us who gets to sing the Te Deum chant liturgically, but if from nowhere else, we all recognize it thanks to Jean Langlais. Well, here again in the Demessieux, the great signature tune booms out. This 1958 work is bold and Ms. Weir used the Organ with much color and imagination.   I think we have all seen the incredibly decorated Abbey at Ottobeuren in Bavaria, if not in person, at least in many pictures (like me). Franz = Xaver Schnizer, or often, Schnitzer (1740-1785) was a monk in this remarkable Baroque/Rococo place, and what's more, he was also Organist on the famous new Karl Joseph Riepp Organ when it arrived in 1766. In 1773, he completed six rather Baroque/Rococo sonatas for either Organ or Harpsichord. Ms. = Weir brought us one in C Major, in four movements. It felt a bit odd at first, within a program which included abundant use of the Pedal, to have this manualiter piece of no great profundity, but that is real life. There is also the question of some sort of touch control, over and beyond just articulation. I think the opening Allegro movement was muddled, on what is known to be an Organ of great clarity and articulation. In addition to = what the fingers do or do not do, the acoustic plays a big part in what happens to music of this sort as it lands on people below, and I do believe one needs to play to someone, or even better, find someone who can play reasonably well to you both the registration and the music. Ms. Weir chose not to accept this assistance when offered, preferring to use the = earphones that "hear" from perhaps 20 feet or so east of the Positif case, and up = near the ceiling. These are very helpful for balancing the Positif, but not really for the general effect down below. The second movement, Minuetto = and Trio fared rather better, moving at a good pace, with solos on the big = Great Cornet and also on the Cromorne. This is pleasant stuff, as is movement three, Intermezzo. The fourth movement, marked Presto, again wanted a bit more careful spacing. It was something of a Rondeau, with intricacies that got rather lost in places, but registrations were lovely, and it had its pleasures for the listener.   Bach - Trio Sonata in E Minor. The first movement, Allego-Vivace was well-paced and clear, with, I thought, the pleasant absence of 16' in the Pedal. The wonderful Andante was gracefully phrased and articulated, = lovely indeed. The last movement, <Un poco allegro> wanted parts with better differentiated registrations. Without them, there was confusion. What = seemed to work upstairs at the <en fenetre> console or even in the earphones, was not quite apt below.   I adore the Willan Introduction, Passacaglia and Fugue, and was pleased to see it on the program. The introduction had enormous sweep and boldness, = in playing and in registration. It was thrilling. I was not able to discern with clarity the progress of the Passacaglia, so out of balance were the registrations and so unclear was the articulation and touch. The wondrous Fugue got right back on track, and led us with great strength to the conclusion of the first half of the program.   INTERMISSION   We regained our seats for a truly grand Liszt piece, as arranged by Lionel Rogg. This was a piano work of 1863, one of two "Franciscan Legends." The first, St. Francis of Assisi preaching to the birds, was transcribed and performed in Liszt's time by Saint-Saens. Lionel Rogg thus felt a call to transcribe the other, St. Francis of Paola walking on the waves. After a great build up, allowing for lots of colorful and bold registration, there is a grand cantilena section. I thank Ms. Weir for bringing this to us, = and also for her excellent notes on this work, from which I have drawn. We owe Lionel Rogg, and I hope his transcription has many outings. It is fine.   I truly love Reger, and I have been trying to think where and when my initiation to his music took place. I certainly recall the occasion upon which I became a confirmed Regerite. It was Piet Kee's recital during a dedication series for the "Andover-Flentrop" Organ in Mt. Calvary Church, Baltimore. My small church, at the time - around 1960 - had had a visit = from and discussion with Charles Fisk, concerning a new Organ. The man wanted = all of $12,000 to do the job, and the vestry was scandalized! Nonetheless, the rector and I betook ourselves to Baltimore and heard a stunning recital = and instrument. [Charles was then calling himself Andover, and he had some advice from Flentrop, hence the unusual name. Right after that, Fisk sold the name to the present Andover people, and began work as C. B. Fisk.] Kee played a Reger Praeludium in D Minor/Major, Opus 65, and to this day, I = hear that performance, and have tried to live up to it when I have played the work. Ms. Weir played the Fantasia and Fugue in D Minor, Opus 135b, and = she really does fantasy very well indeed. There are great, fast-moving bits setting off large, broad moments, and this all had tremendous sweep and grandeur in her hands. Then we settled into the long and wondrous Fugue subject containing elements of material from the Fantasia, all begun = rather gently but ever so gradually building to an enormous climax. Then, the jocular second subject arrives, eventually joined by the great sweep of = the first, and it's wow! to the end. This was a wonderful performance, Reger = at its very best and most powerful.   Ms. Weir's notes tell us: "The Elves, by the one-time Organist at Ste. Eustache in Paris, is from the composer's <Douze Pieces Nouvelles - a delicious piece of impressionistic imagery." There are rapid figurations with various melodic bits having their moments as they dart in and out of the texture with a wide variety of sounds. Short, and very sweet. It was Joseph Bonnet, by the way!   From <Trois Preludes Hambourgeois> of Guy Bovet, we heard "Hamburger Totentanz," the dance of death. I heard Bovet play this entire set during his stunning concert in a Region 1 & 2 convention centered around Mt. Holyoke, Massachusetts in the late 80s. There is a spot when, these days, about halfway through the music, one can identify people that know this piece. Two notes are repeated over and over, a minor second apart, like C = B C B etc. This builds until it suddenly becomes the opening of Fur Elise of Beethoven. The chapel at Mt. Holyoke rocked with laughter at that moment, and there were certainly giggles a-plenty at St. Ignatius. (You can recognize the <cognoscenti> because they start giggling too soon!) Despite that, or perhaps with that, this is a really delightful piece, and a nice ending for a most interesting program.   Thank you, Dame Gillian, and Kent Tritle and all the incredible music = staff at St. Ignatius, for giving us yet another interesting evening of great Organ music. Details of what's to come at: www.saintignatiusloyola.org   Malcolm Wechsler www.mander-organs.com