PipeChat Digest #4691 - Wednesday, August 11, 2004 Everett Titcomb Music by "Chip Bowden" <firstname.lastname@example.org> Re: Hammond in Sao Paulo by "Adrianne Schutt" <email@example.com> Re: Hell review by "Hans-Friedrich Hell" <Hell-Concerts@t-online.de> Re: Everett Titcomb Music by "Noel Stoutenburg" <firstname.lastname@example.org> RE: Music and the plastic arts by "TheShieling" <TheShieling@xtra.co.nz> Re: Everett Titcomb Music by "Liquescent" <email@example.com> Re: The Cruel Toppling of Pedestals (VERY SERIOUS)(x-post) by <OrganMD@aol.com> Fwd: Felix Hell at OHS (long) by "Administrator" <firstname.lastname@example.org> Fwd: Re: OHS by "Administrator" <email@example.com> Re: OHS Buffalo - Second (Very) Full Day, 7-16-04 by "Karl Moyer" <firstname.lastname@example.org>
(back) Subject: Everett Titcomb Music From: "Chip Bowden" <email@example.com> Date: Tue, 10 Aug 2004 14:38:00 -0400 Does anyone know where I could get a copy of Everett Titcomb's Tocatta on = Salve Regina? It was orginally published as a part of the St. Cecilia = Series, but has been out of print for years.
(back) Subject: Re: Hammond in Sao Paulo From: "Adrianne Schutt" <firstname.lastname@example.org> Date: Tue, 10 Aug 2004 15:28:21 -0400 At 07:01 PM 09/08/2004 -0700, John Rust wrote: >I was in Sao Paulo Brasil last week and happened on a >Hammond (C2 I think) <snip> > >photos and a sound clip/movie are at: >http://www.rodgers550.com/c2.html Actually, it's a D. Made from June 1939 through November 1942, they're 2 generations before a C-2. C's and D's (but not D-100 which came = much later and has 32 pedals) use the same cabinet and rough keyboard layout, but the "extras" are different. A casual observer wouldn't be = able to tell the difference at a glance. Ds (and BCs, the same guts in a B-3 style 4-legged cabinet) predate the vibrato scanner (think of it as a distributor cap and rotor), and come equipped with 2 other methods of animating the sound. The first is the chorus generator (an additional half-size tonewheel generator, slightly detuned). It is activated by a large lone drawbar in the extreme = top right of the console (above the start/run switches), and affects both manuals. The other animation is tremulant, which constantly cranks the volume level up and down. If you ever want to drive someone out of the hall, crank tremulant up full...it can literally make people seasick. Tremulant on most models affects both manuals, and is controlled = by dialing in the amount you want on a black knob mounted above the upper presets. Model E is an exception to the tremulant rule. The only model which allows tremulant to be applied to one model at a time, the controls are 2 levers that operate like boat throttles. After D came the CV (and BV - the 4 legged cabinet), introduced right after the war. Chorus generators disappeared, and some early cabinets left over from the D era have a plain black plastic plate screwed = over the hole the chorus drawbar would come out of. Tremulant was = replaced by scanner vibrato which still affected both manuals together. The switches for vibrato on -V series organs consist of a thick, squatty knob marked "1 - 2 - 3 -" for intensity above the upper presets, and a toggle lever mounted on the vertical wood above it for selecting vibrato or = chorus (a mixture of straight tone and vibrato). The -2 generation (Dec 1949 to Dec 1954) was essentially the same = as the -V generation, but allowed vibrato to be applied to one manual at a = time. At a glance, you can identify a -2 series organ by looking for = large white rocker switches....they will be present at the left (above the top presets for vibrato), and nowhere else. If you see these rockers both on the left AND on the right, it's a -3 series (the right hand bank control harmonic percussion). Thanks for posting that page, John. It's always interesting to see Hammonds in new and surprising places. Have fun! Ad ;-> Admin, Hamtech - The Hammond List 1937 E, 1945 CV
(back) Subject: Re: Hell review From: "Hans-Friedrich Hell" <Hell-Concerts@t-online.de> Date: Tue, 10 Aug 2004 21:44:31 +0200 OUSCDB wrote: > by special request - copied from piporg-l list serve -- sorry if > i've done this twice > > > C O P Y > No problem. Actually, you did not send it twice to the list. The first time you sent it - probably following an irresistable desire - to me personally. Only your header was different, i.e.: Quote /*"Hi*/ /* */ /* by special request - here is a copy of a little review I posted to Piporg-L list serve - that other collection of organ idiots."*/ Unquote Hans-Friedrich Hell
(back) Subject: Re: Everett Titcomb Music From: "Noel Stoutenburg" <email@example.com> Date: Tue, 10 Aug 2004 15:14:50 -0500 Chip Bowden wrote: > Does anyone know where I could get a copy of Everett Titcomb's Tocatta > on Salve Regina? It was orginally published as a part of the St. > Cecilia Series, but has been out of print for years. Try Interlibrary loan, through you local public library. Barring that, obtain a letter of permission from Warner Brothers, and acquire a copy from the Library of Congress. ns
(back) Subject: RE: Music and the plastic arts From: "TheShieling" <TheShieling@xtra.co.nz> Date: Wed, 11 Aug 2004 09:48:11 +1200 >And God help the persnickety rascals that focus on the rare =13clam=14 = or botched blurb in reviewing the performance! =A0 >Let=12s give permission for the occasional artist to stumble on our = stairway to the stars! =A0 Most certainly! One of my favourite organists from the past, Anton = Heiller, often made mistakes in recitals, and there are some in recordings I have = as well, but that doesn't offend me as he was such a wonderful performer on both harpsichord and organ. My own organ teacher, NZer Maxwell Fernie (organist for some years at Westminster Cathedral when George Malcolm was choirmaster), always made about half a dozen mistakes in recitals, but he packed the church (600 people) every time, whereas some of the more "gifted" (in being note-perfect) couldn't get more than 30 or 40 people.=20 If I got $100,000 for every time I played for a service without making a mistake, I'd still not have $100,000. I don't mind people stumbling. I do mind when people don't try. Ross
(back) Subject: Re: Everett Titcomb Music From: "Liquescent" <firstname.lastname@example.org> Date: Tue, 10 Aug 2004 14:51:26 -0700 Try St. John the Evangelist, Bowdoin St, Boston, where he was organist .... they have a lot of his music, including a large pile of unpublished manuscripts that they're finally sorting and cataloging. Cheers, Bud Chip Bowden wrote: > Does anyone know where I could get a copy of Everett Titcomb's Tocatta > on Salve Regina? It was orginally published as a part of the St. > Cecilia Series, but has been out of print for years.
(back) Subject: Re: The Cruel Toppling of Pedestals (VERY SERIOUS)(x-post) From: <OrganMD@aol.com> Date: Tue, 10 Aug 2004 20:32:06 EDT Dear Sebastian .......... I always give a careful read to anything that you post and as a rule I = agree with you. Today's epistle should be published on the front page of TAO = for all to read. Organists as a group are often their own worst enemies and = are most certainly the worst enemy of the profession. Thank you for sharing your insights. With warm regards, Bill Rocky Mountain Organ Co., Inc. William S (Bill) Hesterman, President Representing Austin Organs, Inc.
(back) Subject: Fwd: Felix Hell at OHS (long) From: "Administrator" <email@example.com> Date: Tue, 10 Aug 2004 19:42:39 -0500 In light of Jon H's mention of a posting that Stephen Roberts did to PIPORG-L yesterday I wrote Stephen asking if it could be posted to PipeChat and with his gracious permission here it is. David ***************************************************************************= >Dear List, > >I have read with great interest the discussion of Malcolm Wechsler's >review of Felix Hell's recital at OHS. If indeed "fools rush in >where angels fear to tread", this fool would like to add his own >comments to those that have already been made. Let me preface what I >am about to write by saying that I am thankful that I am no longer a >member of any board, council, or even committee; I therefore speak >for no one but myself, and anything that I write is simply my own >opinion and nothing more. > >The first comment concerns programming. If I'm not mistaken, the >whole focus of recitals at OHS is on demonstrating the instruments. >At OHS the spotlight is on the organs, not so much on the >performers. This sets OHS conventions apart from AGO conventions, >for example. I'll leave it for others who were there to decide for >themselves whether Felix's program was an effective demonstration of >the resources and attributes of A-S Opus 1249 or not. I do question >the wisdom of playing such a long and very heavy program in the late >afternoon, after conventioneers have sat through several programs >already. That's why I personally opted for lighter fare in my >little demo of Kimball K.P.O 7129, and provided some comic relief in >the form of "The Royal Telephone". This, of course, was personal >taste and an individual decision. Once again, I will leave it to >others to decide whether or not my decision was a good one. > >The second comment concerns the encore. My own recollection of what >happened at the end of Felix's program was somewhat different from >those of my friend, Paul Marchesano. After that long, challenging, >and arduous program, in my little corner of the church I heard >audible groans from people around me when Felix came back to play an >encore. I admit that I did not stay for the entire convention, but >I don't recall another case where a performer at an OHS daytime >demonstration recital played an encore. Long time OHS members may >correct me if I'm wrong about this, and knowing this list, I'm sure >that they will! :) From the muttered comments I heard, however, it >wasn't that people thought that Felix didn't deserve to play an >encore, but the groans were from people who were tired, hungry, and >cranky at that point, and who were probably looking forward to the >break for dinner which followed. > >One thing is indisputable, however: Felix's decision to play that >particular encore at that particular recital proved to be a mistake. >The encore was the final movement of J.S. Bach's Sonata I in E-flat, >BWV 525. I gasped when I heard the tempo that Felix took: Malcolm's >description of the tempo as "breakneck" was not inaccurate in my >opinion. Herman Keller in his classic book on Bach's organ works >suggests a tempo of >quarter=3D 100. In a footnote Keller provides the following caution >about the tempo: "No faster; Bach specifies allegro, not vivace." >And certainly not "prestissimo assai". From the very first note I >recalled a rebuke that my dear departed undergraduate organ teacher, >Mildred Andrews, gave me when I was about Felix's age. When I was >studying with Miss Andrews, I ripped through the Liszt BACH from >memory at a blistering tempo, and played the scales so fast that the >pipes hardly had enough time to sound. Miss Andrews exclaimed, >"It's TOO FAST!" I protested, "But I can play it that fast!" She >said, "Yes, I know, but I can't HEAR it that fast!" Over 30 years >later, I can still remember her gently pulling the reins on my >youthful exuberance. I think that Miss Andrews' admonition could >well have stood Felix in good stead this case. I also suspect that >he jumped on the bench to play the encore without making sure that >he was settled properly. It's very hard in a trio t! > o scoot > back in position if you're a bit askew, and you risk throwing >yourself off balance when you do it. I know about that, because >I've had that happen myself, and it's no fun: I learned that bitter >lesson the hard way. > >For whatever reason, the result was also a matter of fact, not >opinion. In the repeat of the first half of the movement, hands >and feet came apart, and things went so badly that the performer had >to stop for an instant. Like the trooper he is, Felix jumped to the >second half of the movement and went on. He also seemed to me to >take a slightly slower tempo for the second half, which was very >wise in my opinion. He was obviously quite unnerved, however, since >he wisely chose not to repeat the second half of the movement. > >The problem with a mistake like this at the end of an otherwise fine >recital is that it is what the audience remembers. In a couple of >minutes, one can undo all the good work that one has done up to that >point. Once again, I'll leave it to others who were there to decide >for themselves whether or not this was the case in this particular >instance. > >My final observation concerns a subject that no one seems to have >broached so far. History shows that age 19 or 20 is a critical time >for child performers, be they musicians or actors or whatever. At >that age they are no longer children, and they must make the >difficult transition to adult performer. Suddenly they are judged >like other adults, and no allowances are made for youth. Now that >Felix Hell is a young man, he no longer fits into the category of >"child prodigy", simply because he is no longer a child. Even >geniuses like W.A. Mozart have faced this dilemma: Mozart had a very >difficult time as a young man in the service of the Archbishop of >Salzburg. He had been the toast of all Europe as a child, but he >was no longer a child; the novelty had worn off, and the young >Mozart was suddenly faced with the necessity of making a living as >an adult musician. Fortunately for us all, he successfully made >that transition, and didn't give up, even though he had many > disappointments and hardships. I personally hope that Felix Hell >will successfully make this transition. Many very gifted child >actors haven't been so lucky, for example. Shirley Temple and >Mickey Rooney never quite made it big as adult performers, and the >life of their contemporary, Judy Garland, was a downward spiral into >depression and despair. The transition to adulthood is particularly >hard on gifted young prodigies who have been idolized by the public. >I genuinely hope that Felix Hell will negotiate these very difficult >waters with the same brilliance he has exhibited thus far. I for >one wish him well. > >Stephen Roberts -- **************************************** David Scribner Owner / Co-Administrator PipeChat http://www.pipechat.org mailto:firstname.lastname@example.org
(back) Subject: Fwd: Re: OHS From: "Administrator" <email@example.com> Date: Tue, 10 Aug 2004 19:44:34 -0500 And another posting that went to PIPORG-L from Paul Marchesano that is being forwarded here with his permission. David **************************************************************** >Dear List Members: > >With all due respect to Doug, Malcolm, Roger and anyone else who has read >and posted on this topic, I feel that I MUST make a clear correction and >statement. > >Be sure: I am without question, now speaking as a member of the Board of = the >OHS. > >The opinions expressed by Malcolm Wechsler in his posting(s), reviews of = OHS >conventions and the like, as well as any reply I may have made or any = other >person has made are the opinions of that individual, posted in a public >discussion forum, with all that implies. I make no declarations of = purpose >or intent. I respectfully request that the posting of inaccurate and >misleading information cease, in general because this is not good for our >community, and in specific, because it is damaging to the reputation of = the >Organ Historical Society, an organization dedicated to the preservation = of >the historic American pipe organ, not with opinions of musical = performance, >repertoire or individual spats. > >I saw no signature line on Mr. Wechsler's posting [or my priors, for that >matter] that in any way indicated representation of the OHS or its Board = of >Directors. > >Healthy, professional and polite debate and discussion is food for = thought >and good for the community of pipe organ enthusiasts. Postings lacking in >etiquette or fact have no place anywhere, least of all on this list, I = dare >say. > >The Board of Directors (AKA: National Council) of the OHS, its employees >and/or contractors do not speak for the organization if they proffer = their >opinions in public or otherwise. The OHS clearly makes policy statements, >and the like, usually in a mailing to the membership or the public and/or >through the publication [in the official journal of the Society, The >Tracker] of the minutes of meetings of the National Council. > >With kind regards and best wishes for fruitful and productive = discussions. > >Sincerely, > >Paul R. Marchesano >OHS Councilor for Education >(Phila PA) > > > >-----Original Message----- >It is especially unfortunate that >an OHS Board Member should have known the facts before sharing >mis-information with the list, instead of implying that he, as a board >member, was expressing the opinion of the OHS Board. > >Douglas A. Campbell >Skaneateles, NY >"Sage of Skaneateles" -- **************************************** David Scribner Owner / Co-Administrator PipeChat http://www.pipechat.org mailto:firstname.lastname@example.org
(back) Subject: Re: OHS Buffalo - Second (Very) Full Day, 7-16-04 From: "Karl Moyer" <email@example.com> Date: Tue, 10 Aug 2004 23:11:02 -0400 I've been away and just returned to reading e-mails, including Malcolm's ever-interesting comments on OHS 2004. I hope the following comment from = me is not redundant here or too late: On 8/5/04 12:15 AM, "Malcolm Wechsler" <firstname.lastname@example.org> wrote: > Some OHS historian can tell us if the idea of singing a hymn at each = recital > was a practice right from the very first convention. The clever soul who > suggested it is, I hope, still around to realize just how brilliantly = this has > enhanced our musical experience at conventions. If I have it right, the first "hymnlet" came at the 1976 convention in Central PA. Norman Walter, then of Lebanon and now of round Lake NY, was general chair, and I was program chair. But the hymnlet was the work of (now) the late Samuel Walter -- Requiescat in pace! -- though I think the actual hymn singing practice had already been established. Other comments here? Cordially, Karl E. Moyer Lancaster PA