PipeChat Digest #4252 - Monday, February 2, 2004
 
Bach Trio Sonatas - Which is more difficult?
  by "John Foss" <harfo32@yahoo.co.uk>
ATOS Electronic Theatre Organ Competiton - March 20, 2004
  by <Wurlitzer260@aol.com>
RE:  Sticking Keys
  by "Phillip Schlueter" <pschlueter@adelphia.net>
Re: Bach Trio Sonatas
  by "Pat Maimone" <patmai@juno.com>
Re: Bach Trio Sonatas
  by <Cpmnhartus@aol.com>
Re: Bach Trio Sonatas - Which is more difficult?
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Re: Bach Trio Sonatas - Which is more difficult?
  by <OMusic@aol.com>
Beethoven Sonatas
  by <OMusic@aol.com>
University Organ Enrollment
  by <Oboe32@aol.com>
 

(back) Subject: Bach Trio Sonatas - Which is more difficult? From: "John Foss" <harfo32@yahoo.co.uk> Date: Sun, 1 Feb 2004 14:36:13 +0000 (GMT)   Many years ago when I was a student I was discussing the relative difficulty of different pieces with Bob Griffiths. His reply was "John, all music is difficult". He was not referring to the technical difficulty, but the deeper problem of really understanding what we are playing, and communicating this understanding to our listeners. A single line of music is harder to play convincingly than a complex piece of counterpoint, for you have to understand its context and convey its unadorned meaning. Having said that, obviously some music is harder than others, and practising the Trio Sonatas part by part and phrase by phrase is sure to have a good effect on your playing overall! For example, if you take one movement as your warm up exercises and work through it in this fashion, it is a good start to the day. Keep it up for a few weeks and you should have it under control. My personal favourites are E flat major, C minor and G major - but I don't think there is much difference between them in difficulty. I tend to revise works I have already learnt in this fashion, using them warm up exercises. I mark the difficult bits, and work my way steadily through them. Funnily enough, learning Beethoven piano sonatas also seems to work wonders for ones organ playing! John Foss   =3D=3D=3D=3D=3D www.johnfoss.gr http://groups.yahoo.com/group/orgofftop/ Topics of the week : The verdict is in!   ________________________________________________________________________ BT Yahoo! Broadband - Free modem offer, sign up online today and save = =A380 http://btyahoo.yahoo.co.uk  
(back) Subject: ATOS Electronic Theatre Organ Competiton - March 20, 2004 From: <Wurlitzer260@aol.com> Date: Sun, 1 Feb 2004 10:13:24 EST   Fellow Listers,   The March 20 deadline for the 2004 ATOS Electronic Theatre Organ = Competition is fast approaching! While we had asked a preliminary indication of = entries by February 1, we will take entries from qualified ATOS amateur organists = until the recording receipt deadline of March 20 - its not too late to dust off = the music, get out the recorder and prepare a short audition tape! Entries = will be adjudicated by three well known theatre organists and comments provided = back to each eligible entrant.   Many ATOS Chapters have featured information about the Competition as well = as the other ATOS Competitions in their newsletters, meeting discussions, = etc., and that is greatly appreciated! But . . . we still hear from many of you =   that the information might have been "lost" along the way. If that's the = case in your area, I'd be happy to provide a short article ready to insert in your =   local newsletter -- just send me the editor's email or mailing address and = we'll get it right out to you. We'll also be pleased to send copies of the Entry =   Form, Rules, and Recording Suggestions directly to any ATOS member that = might not have received them from your Chapter. Just drop me your email and/or = mailing address and we'll get a packet on the way to you!   Lets talk up ALL the ATOS Competitions and have a great turnout this year!   Bob Acker Chair - 2004 ATOS Electronic Theatre Organ Competition    
(back) Subject: RE: Sticking Keys From: "Phillip Schlueter" <pschlueter@adelphia.net> Date: Sun, 1 Feb 2004 11:55:42 -0500   Original post: Subject: Re: Sticking Keys From: "Gary Blevins" <gsblvns@camalott.com> Date: Sat, 31 Jan 2004 09:07:24 -0600 Hi Peter, I would suggest you check the guide pins at the front of the keys. Many consoles use oval guide pins at the front of the keys and if they get = turned sideways, the key will bind and stick. They can be turned back in line = with thin needle nose pliers, but you must be careful not to nick or scar the pins when turning them Just a suggesstion. Gary ___________________________   Please oh please don't use a needle nose pliers on a front pin on a keyboard. There is a tool for this and it is easily available. I would only use this method if the concert was going to start in an hour and I didn't have my keyboard tools with me! And, I would then try and grab the oval pin under the bushing--there is not much way you can turn those pins without damaging the nickel plated surface. It is nearly impossible to = turn the pins in the second row anyway with a pliers, the tool is designed not = to nick the pin and is curved in a manner to get at the second row of pins.   If it is the front pin--(because there is no play) you can try to burnish the bushing/front pin by grabbing the front of the key and slightly = twisting it and then moving it up and down--twist it the other way and repeat. If that helps then it is almost proving it is a front oval pin causing the problem (also I have completely fixed a key this way never to stick = again). I have seen a broken pencil lead cause these same problems in the past and it's usually behind the nameboard/piston rail. In this case you might be getting in over your head to fix.   PMS   Available in these parts for organ service, the Miami of the North, beautiful Buffalo, NY.    
(back) Subject: Re: Bach Trio Sonatas From: "Pat Maimone" <patmai@juno.com> Date: Sun, 1 Feb 2004 12:44:44 -0500   Greetings, Pipechatters,   After being told by my teacher Dr. Thomas Richner to start with the entire Trio Sonata No.1 in E Flat Major, the first movement of No. 6 in G Major seemed much easier..   Having heard Virgil Fox perform it on a recording (if not live at Riverside Church, NY, or Kirkpatrick Chapel, Rutgers University, New Brunswick, NJ) may have steered me toward the Vivace in G Major after the joys and agonies of working out the E Flat Major.   In any case, good luck as you resume practice of these gems which Sebastian Bach is said to have written for the benefit of his son Wilhelm Friedemann..   Pat Maimone patmai-at-juno.com   who registered for the AGO 2004 National Convention in Los Angeles with a postmark of Jan. 31, and who is enjoying a clear and somewhat warmer day on both sides of the Hudson River today. [played for church in Beacon, am now back in Fort Montgomery].. Please see http://chvago.org AGO Regions II and III Convention June 22-25, 2005  
(back) Subject: Re: Bach Trio Sonatas From: <Cpmnhartus@aol.com> Date: Sun, 1 Feb 2004 15:05:24 EST   from George W. Bayley   1 February 2004   Hi Pat.   I saw your posting to the list so I thought I would just say hello from Lewes, Delaware.   St. Peter's Choir has grown to 33 members, many of whom are musicians. = Their performance standard continues to improve by the week.   Our next British cathedral musician in residence will be David Flood of Canterbury Cathedral. This will be in October.   It looks as though St. Peter's will get a proper three manual drawstop console with some appropriate tonal additions within a year or so, maybe = less.   Cheers,   George    
(back) Subject: Re: Bach Trio Sonatas - Which is more difficult? From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Sun, 1 Feb 2004 13:34:18 -0800 (PST)   Hello,   I believe my copy of the Trio Sonatas is "Urtext", but without a special trip down to church, I cannot write with any great authority.   However, if my copies are faithful to the original manuscripts, then the Trio Sonatas are infinitely more difficult than they appear on paper. The E flat (No.1) beggars belief for the sins of omission.   Look at the ornamentation of the first section of the slow movement, and then see what happens to the adagio theme in the next. It is a more or less perfect inversion of the opening theme, sans ornamentation.   Now, the only way of inverting the thing properly, is to carefully mirror the ornamentation of the first section!   Why was it missed out, I wonder?   Was this also a "teaching exercise" by Bach, or did he just follow "common practice" and assume that performers would play the ornamentation anyway?   Without doubt, the Trio Sonatas are so perfect in structure and contrapuntal ingenuity, it is inconceivable that this does not also apply to the ornamentation.   Furthermore, the best performance practice seems to be where every tiny nuance of phrasing is mirrored faithfully throughout, even on the pedals.   Two learning tips I have found very, very productive.   With MIDI, or even just a decent tape deck and microphone, it is possible to cut practice time down considerably by recording the right hand and pedals, and then, by playing back and learning just the left hand, everything falls into place at double speed.   It's a neat trick!   From a practice point of view, I also made a point of using a very clear 8ft pedal (Cello or Metal Diapason), 8ft & 4ft Flute Left Hand, and 4ft & 2ft Flute for the right hand. This gives startling clarity of line, and allows the ear to actually hear where the mistakes are when learning.   Regards,   Colin Mitchell UK         __________________________________ Do you Yahoo!? Yahoo! SiteBuilder - Free web site building tool. Try it! http://webhosting.yahoo.com/ps/sb/  
(back) Subject: Re: Bach Trio Sonatas - Which is more difficult? From: <OMusic@aol.com> Date: Sun, 1 Feb 2004 21:40:54 EST   I agree that the Trio Sonatas are more difficult than they appear on = paper. Colin, your practice techniques are interesting. When I was just starting =   organ and learning the Chorale. Preludes in the Liturgical Year my teacher = had me play two parts and sing the other, then change parts to sing and play = the other ones. I have also practiced with a tape recorder playing a part. = This indeed does cut down on practice time, which is at a premium. Lee    
(back) Subject: Beethoven Sonatas From: <OMusic@aol.com> Date: Sun, 1 Feb 2004 21:51:29 EST   John, I practice a Beethoven Sonata or so every day. It keeps my fingers limbered up (which is important at this age when arthritis sets in) and it = does seem to improve my organ technique. This is the first time I have heard someone say that, but I have been doing it for years. Lee    
(back) Subject: University Organ Enrollment From: <Oboe32@aol.com> Date: Mon, 2 Feb 2004 00:13:35 EST   Hey All,   Having just finished at Westminster, a school that has close = to 35 organ principals, of which about 20 are performance majors, I must say = that the majority of the students are coming from overseas. The breakdown of students tends to be from Asia, with some coming from Russia and Europe. = The church market and pipe organ markets are alive and well in Asia, especially in = Korea and Japan. The administration at Rider and WCC have recognised that the sacred music and organ curriculums need to be updated, as well as invested = in, as so many are diminishing and outdated in the country. This in mind, the = school undertook a new curriculum about three years ago and has developed a long = range plan and developed a good endowment. The fact is that the market for church musicians and organists is = not so much in this country anymore. Churches have moved in a different = direction, there are fewer fulltime jobs, and the competition is getting bigger for = the jobs that are there. Society is creating the problem or the situation as = the case may be that is present within church music. We live in an "instant gratification" society. When you see organs being designed, digital = everything is being added so that the organs can play everything. Some churches are not = meant for 32's and huge Tubas. In society as well, email, Instant Messaging, = Cell Phones, Wireless Web, etc. has made life faster. So we've packed more into = life but with less time. People have less time for church, and when they do go, = they want to be entertained instantly. God forbid that church may not be entertaining, or the music be eclectic or not in the style that every = single person may like. The result is a society that no longer waits to open its eyes and = ears to something different, new, or old. Everything is of instant value, or = none at all. Therefore the organ and the artform that it represents is not held = as highly by as many people. This has in turn created the situation in church =   music that we see today. Advocacy is the word... I see myself as a music educator... and I = plan to incorporate the organ into my teaching in one way or another. At any rate... bedtime and a long week ahead!   -Pete Isherwood