PipeChat Digest #4628 - Sunday, July 18, 2004
 
OHS 2004 - 1st Full Day - 7-15-04
  by "Malcolm Wechsler" <manderusa@earthlink.net>
wine and Welch's
  by "Raymond H. Clark, Quilisma Publications" <quilisma@cox.net>
Re: something else new
  by <Keys4bach@aol.com>
Smells n Bells - was "lights, cameras, action..."
  by "Charlie Lester" <crl@137.com>
Re: Getting sick from Communion (was "Playing during liturgical..") Sarca
  by "Merry Foxworth" <m.foxworth@verizon.net>
RE: communion packets
  by "Jeff White" <reedstop@charter.net>
RE: Playing during liturgical events
  by "Jeff White" <reedstop@charter.net>
RE: wine and Welch's
  by "Jeff White" <reedstop@charter.net>
 

(back) Subject: OHS 2004 - 1st Full Day - 7-15-04 From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Sat, 17 Jul 2004 21:58:01 -0400   The first full day of Convention, 2004, Thursday, July 15th.   This day began with a lecture by Donald Ingram on "Herman L. Schlicker and the Schlicker Organ Company." In a post-World War Two world, dominated Organically amongst the <cognoscenti> by Walter Holtkamp Sr. and the Aeolian-Skinner Company, Herman Schlicker was, in a somewhat smaller way, = a very serious presence - on Military Road in Buffalo for many years. This = is a story worth hearing.   James Hammann, Delaware Avenue Baptist Church, Buffalo Thursday, July 15, 2004 10:20 a.m.   Jim Hammann never fails to bring some sort of special delight to OHS Conventions in his regular recitals for us. This takes the form both of = his playing and of his programming. He teaches Organ and Music History at University of New Orleans, and is Organist/Choirmaster of the Chapel of = the Holy Comforter. He also runs a small Organ maintenance and restoration = firm. His bio in this year's Organ Handbook shows that he "has given more than a hundred performances of his one-man show, 'Old Bach,' where he dons = costume and, through spoken commentary and musical performance, recreates moments = in the life of the Leipzig Cantor." This, I would really like to see. Come North, please, sir.   Today, he brought us part of a set of short pieces by Dudley Buck, and = when you hear the name of this set, you will ponder the wisdom of presenting these in recital. Not to worry. Between the elegant fluency of his playing and the interest found in the music, I believe a good time was had by all. Below is the name of the work, and below are also the tempo-marking titles and descriptions of each little piece. Besides the sheer pleasure I = derived from the music, I had a powerful wish to take these to the bench and learn them myself, for the everlasting benefit to my playing technique. We seem not to have heard the entire set, as you will see from some blanks in the numbering, and I am curious about what was left out, and possibly why. It may well have been timing. The last piece, No. 17, was a rather fine = chorale prelude on Allein Gott, and this was followed by our always powerfully moving singing.   Studies in Pedal Phrasing Dudley Buck (1839-1909)   1. Moderato, Absolute Legato in both Manual and Pedal 2. Andante espressivo, Arpeggios based on the Octave 3. Allegro non troppo, Continuous legato in Pedal 4. Con moto, For practice in various "skips." 5. Larghetto, Absolute Legato in both Manual and Pedal 6. Andante con moto, For acquiring a clear and expert repetition of the = same tone with use of alternate feet. 7. Maestoso, for acquiring surety in minor arpeggios, especially = descending. 8. Andante quasi Allegretto, For acquiring steady tempo despite interruptions, as between Manuals and Pedal. 9. Moderato, To acquire a quick and clear "speech" in the pedals in = shortest phrase 11. Allegretto, Passing alternate feet (toes) over and under each other. 12. Allegro scherzando, Heel and Toe in rapid connection. 13. Romanza, Occasional freeing right foot for expressive use of Swell Pedal. 14. Allegro moderato, Irregular Scale-Passages (legato). 17. Chorale, "Allein Gott in der Hoh sei Ehr'!"   The singing of the chorale.   The Organ, by the way, was a fairly substantial three manual instrument by Johnson, Opus 827 of 1895. It had been born with mechanical action, but = was electrocuted and given a new console by the Viner Organ Company of Buffalo in 1951.   *******   Derek Nickels, Lafayette Presbyterian Church, Buffalo Thursday, July 15, 2004 11:30 a.m.   Derek Nickels is Director of Music at the Episcopal Church of the Holy Comforter in Kenilworth, IL. He holds a Doctorate in Organ Performance = from Arizona State University, an MMus. from the same place, and a Bachelor's from Southern Methodist University. He taught at U. of Arizona, and was = also Organist/Choirmaster at Trinity Episcopal Cathedral in Phoenix. He has = also served as Organist of Rockefeller Chapel of the U. of Chicago and as Associate Organist at St. James' Cathedral in Chicago. He maintains an active recital career throughout the U.S. He last played for an OHS Convention in Chicago in 2002, a recital I remember with great pleasure.   He played today on an Organ of 1896, by George Hutchings (Opus 465), built with Electro-pneumatic action. In 1926, Wurlitzer added a Solo division, = and at some time in the 1920s, Charles Viner of Buffalo added Orchestral and Echo Divisions. During one redecorating project, the church slightly = changed the configuration of the Organ chamber, restricting somewhat the tonal egress. It was occasionally clear that we were not always getting the full benefit of what this instrument hoped to tell us, but one does adjust = one's ears, and it was really o.k. and the Organ's innate elegance and beauty = did shine through.   The concert opened with remarks by Dr. Charlotte Roederer, who had been Director of Music at this church from 1982 to 1999. Both in person, and in = a small advertisement in the Organ Handbook, she thanked OHS for recognizing the Organ the church has loved for so many years. This was to be the occasion of a happy choir (and church) reunion with her, in recognition of what had clearly been a long and happy association.   Mr. Nickels began his program with the Mendelssohn Fifth Sonata, and at = the beginning, the sound was fine and cohesive. The performance was superb, = and at its end, we heard the unmistakable sound of an Organist pecking away at random high notes on a quiet stop, hoping to quell a very quiet cipher. = This brought forth more than a few knowing giggles. The effort was successful, and there was no further trouble.   <Harmonies du Soir> of Karg-Elert is an exquisite work, and together with = a well-played and thoughtfully registered performance, was a lovely experience.   Here followed a wonderful performance of Scherzetto from the Vierne 24 <Pieces en style libre.> It was fully clear and delightfully playful.   An Elegy by Herbert Brewer (1865-1928), unknown to me, was a lush journey through some of the very fine, gentle stops on this Organ.   We then raised the roof with "Guide me, O thou great Jehovah," to CWM Rhonda, of course. We were allowed the pleasures of harmony for two = stanzas, and a powerful unison for the final stanza. We should take our show on the road. Well, I guess we do, in fact.   Mr. Nickels ended his recital with the fourth part of Sonata No. 7 in f (Opus 127 of 1881) by Josef Rheinberger, who has had a good run at this convention, so far. We heard Finale and Fugue, the Finale with its own attached fugue, and then a second fugue of great charm which builds to a glorious climax. Mr. Nickels plays with an assurance that allows for a = vigor and strong forward motion throughout. It was a most exciting finish to a finely wrought program, wonderfully played throughout.   *******   Aspects of next event were a bit more than my fossilized brain could fully comprehend. We were told that we were actually not where we were, but somewhere else with the same name. O.K.? Actually, the Organ Handbook says we were to be in the Karpeles Manuscript Museum - North Hall. Where we = were looked like a church, one having a large 1913 Moller Organ behind a screening in front. This former church is just another part of the = Karpeles Museum system. One thing is certain: As we came in, we were handed a very nice box lunch, and as we were inhaling that, someone hidden down in a pit began to play the Organ. We heard first the glorious if mysterious opening of the Durufl=E9 Suite. This was followed by some chords that clearly were recognizable to everyone but me - there were giggles at the first notes - apparently the theme music for a popular TV program - and after that finished, we heard the great Bach Prelude in C Minor from the Prelude & Fugue in C Minor, BWV 546, and finally the Bach Chorale Prelude on = Schmuecke Dich (BWV 654). Joe McCabe made an announcement that included information about who had been our mystery Organist, but the acoustic defeated him. At our next venue, with a good P.A. system, he was able to tell us it was someone, obviously a fine Organist, called David Blazer.   *******   David Bond, First Presbyterian Church, Buffalo Thursday, July 15th, 2004   Dear me! What to say about this event? There is a story here of an Organ from 1970, still much in thrall to the Organ culture of the 60s, played, albeit skillfully, like Gangbusters, for all the world like the Organists = of the 60s. We began with a hymn, in this case Lasst uns erfreuen, and my = ears were sounding warnings to me even before we reached the last verse. I need here to confess that I lived through the 60s, starry eyed about exactly = this sort of instrument, and I drove countless miles to hear its dedication = over 30 years ago. I knew Robert Noehren, who built this instrument, by the = way, and back then, I gazed at the stoplist, and almost swooned with a kind of religious fervor at seeing nine ranks of Mixture on the great, only five ranks on the Swell, eleven ranks on the Positiv, and fifteen on the Solo, forty ranks in all, many of them stratospheric in pitch, and not shy and retiring. Mr. Bond really got into this, as I would have fifty years ago. = He gave us clever reharmonizations, and basically supported us well, but it = was me in the 60s also in being very fast and relentless. I had a little scenario going in my brain, playing bewigged judge, and sentencing this = man to be chained to a wall at either St. Paul's Cathedral, London, or to = King's College, Cambridge for a week of services, just to study breadth and true beauty in the playing of hymns. I was taught, and I was paying good money = to be taught this, that it was Mixtures that led a congregation. After all, they were singing at 8' pitch, possibly 4', and in the case of the drones found in most congregations, perhaps 10 and 2/3rds. Accompanying them = using the same pitches they were singing meant they could not hear you, so we needed something strong above their voices. We now have received new = wisdom which tells us that it is a firm bass line that does the trick, and that congregations really sing better if, in volume, we play at times just = under them, giving them an honest chance to hear themselves and enjoy the collective singing. The impact of those times when you do put the pedal to the floor becomes much stronger. So be it.   We next heard the Bach C Major Prelude, BWV 547, and it waltzed along, demonstrating the great skill and precision of this performer. I have a peculiar way of listening to this music, which wants something supple and more responsive to line. I think I may be a bit alone in this craving, = which WAS, however, satisfied at times during this glorious OHS week. However, = the sheer muscularity of the performance at hand was refreshing and with its = own sort of excitement.   Noel Etranger of Daquin needed, I thought, to come down in volume, at = least in the plenum sections, which hurt.   Pietro Yon's little 1946 composition, Humoresque from "L'organo = primitivo," often known by a subtitle, "Toccatina for the Flute," never fails to = please.   I think attempting the Franck E Major Choral on an Organ like this = requires great courage, or something. This wonderwork is for many the ultimate pleasure = on an Organ of great warmth and breadth. The opening page alone is iconic. Hearing it forced into another entire aesthetic mold is a bit difficult. = It is not just high pitched power that is at question - it is also the type = of reeds that color the ensemble. There is no question but that living with = an Organ like this has its pleasures, but it also denies us certain works, = and I have never been convinced that violating those strictures is healthy. Unlike many more cerebral works like those of Bach, this music is not indestructible. I have heard some Bach played by a Saxophone quartet, and have lived to tell the tale - with pleasure. In any case, this was, as = with all else, a performance of skill and accuracy. The A Minor Chorale is a better bet for performance here, I would think.   Before the recital in the main church, we were invited to view and hear a substantial 1957 two-manual instrument by Hermann Schlicker in the = church's chapel. It was demonstrated mostly by Tim Smith, of Columbus, Ohio.   ******* Scot Huntington, Nativity of the Blessed Virgin Mary Church, Buffalo Thursday, July 15th, 3:30 p.m.   The 14 stop, two manual 1863 Hall & Lebaugh Organ in this church is = clearly a treasure hoping to be fully revealed one day. It is one sick puppy, and sadly, it is not used. It is in a high balcony at the east end, and the music wants to be made at the other end. I would like to be able to say = with certainty that this Organ, restored, might be sufficient to the needs of = the congregation. It is difficult to be certain. In any case, the parish has made "other arrangements" down in the chancel, and seems content with = that.   Mr. Huntington worked hard to try to prepare this instrument to be heard = by the convention, and played a program, changing from moment to moment, I gather, that would fulfill this hope. He succeeded quite well, and we = heard some wonderful sounds indeed. He began with a Tallis motet (I missed its name), transcribed for Organ, that showed off a most beautiful, = sweet-toned 8' Open Diapason. This was followed by a "Service Prelude" by Eugene = Thayer with 8' and 4' Principal sounds of great beauty. A Menuetto in A Major of Henry Smart showed off stunning Flutes.   At this point, a member of the OHS National Council, Allison Alcorn-Oppedahl, certainly surprised me, at least, in revealing her considerable skill as a Violinist, performing a Bach work with Scot at the Organ. If I knew at the time, I have forgotten what the work was, but I still have an impression of the wonderful sounds we heard. (There was no printed program - there could not be, as it was organized ad hoc, as parts of the Organ showed willingness to behave properly.)   Scot then played the ancient and wonderful "Maria Zart" of the blind = Arnolt Schlick (1460-1521). The program ended with an Allegro Maestoso by Thomas Roseingrave (c. 1690-1766).   *******   And now for something completely different! After dinner, we were off to Shea's Buffalo Center for the Performing Arts to hear Scott Foppiano have = at the large Wurlitzer in this large theater. As I studied the specification = of this instrument, I saw all manner of things that might be useful in enhancing the services in my church. The Organ has, for example, a device giving off the sound of Horses' Hooves. There's also Bird One and Bird = Two. The possibilities are endless.   My theater Organ experience is limited, but very much First Class! My = first recollection of actually being excited by such an instrument is of the theater visited by an OHS Convention in Denver some years ago. This was fabulous - what power and variety! We saw a saccharine silent movie that = had us all wet around the eyes, and the two Organists at the two consoles = really made a meal of it. The movie was about the building of a railway high in = the Rockies, a land of perpetual snow. I can't recall its name, other than = that the word White was in the title. It was a truly powerful experience. = Second time around was at Dickinson High School in Delaware. I had organized a = tour for a group of English Organists, and included a visit to Dickinson, where one of our party, a wonderful town hall Organist (Walsall), Harold Britton demonstrated. Again, I was thrilled by this instrument. My third high-quality experience was with a P.O.E. run in Danbury by Stephen = Roberts a few summers ago. We went to the Thomaston Opera House in central Connecticut, and Tom Trenney was the demonstator. Another terrific experience. Somehow, and I know I might be offending some people, this = Organ in Shea's Theater did not have the magic for me that these others had. = There appeared to be less variety, less power, and less thrill. Scott Foppiano obviously knows the ropes, and had worked out a program of songs he would play, and did play, all from memory. I had heard enough of the sound of = this instrument after a few of these songs. After intermission, there was a = 1922 Buster Keaton silent film, "Cops," which Scott accompanied brilliantly, = and this was good fun. There was to have been a sing-along, but Scott = announced that this could not happen because of technical difficulties. Anyway, this was a pleasant evening, and a chance to see this major Buffalo landmark theater, and I am glad it was included in the OHS itinerary.   Here endeth the first full day of the OHS Convention, 2004, Buffalo, New York.   Malcolm Wechsler www.mander-organs.com        
(back) Subject: wine and Welch's From: "Raymond H. Clark, Quilisma Publications" <quilisma@cox.net> Date: Sat, 17 Jul 2004 19:00:56 -0700   I've heard it said (from the pulpit, no less) that at the miracle at the wedding feast in Cana, Jesus turned the water into GRAPE JUICE (chuckle).   Nope.   It was WINE.   W-I-N-E.   An alcoholic beverage made (in the case of the Holy Land) from grapes, dates, or whatever was at hand.   Now, let's think this through.   How long does it take grape juice to ferment without refrigeration, especially in wooden or animal skin containers?   Not very long at all.   It won't be GOOD wine, but it'll be wine.   Which is NOT to say that Jesus DIDN'T instantly turn the water into "the GOOD wine", as someone remarks ... it was the custom to put out the good wine FIRST; then after everybody had "had a few," one could safely put out the cheap stuff without anybody noticing (grin). But, as the guest notes, "you have kept the good wine until NOW."   Water was precious, and not particularly clean.   It was SAFER to drink wine, even raw, new wine.   All in all, they must have made pretty GOOD wine ... unbroken amphorae from ancient shipwrecks in the Med have been recovered that contained wine that was still drinkable, upwards of a thousand years later (!).   As to "to each his own," there have been multiple attempts over the years by prohibitionist Protestants to bring Anglican and Lutheran pastors to trial for "serving alcoholic beverages to minors" at the Communion Rail (in those days, the RCs only gave the Host to the laity).   In one RECENT case in Iowa (I believe it was), a prohibitionist warden forbad an RC priest to celebrate Mass with wine in his prison. I never heard the outcome of that one.   Cheers,   Bud          
(back) Subject: Re: something else new From: <Keys4bach@aol.com> Date: Sat, 17 Jul 2004 21:59:25 EDT   In a message dated 7/17/2004 5:38:28 PM Eastern Standard Time, ContraReed@aol.com writes:   > How about doing lots of Mary hymns and have the pastor preach on why she = is > > important to the Christian religion. > >   Because he has preached on nothing but the Gospel for 2 years........nothing.....not even a mention of a Psalm, or OT...........i = can think of 5 times he mentioned the Epistle........   dale in Florida working with a handicap  
(back) Subject: Smells n Bells - was "lights, cameras, action..." From: "Charlie Lester" <crl@137.com> Date: Sat, 17 Jul 2004 19:17:51 -0700   excerpts, with commentary, from "Andrew Mead"<mead@eagle.ca>'s posting of Sat, 17 Jul 2004 13:35:26 -0400       =3D-> Jesus Christ was a practicing Jew and no one in history has practiced Judaism better than Christ. When he was alive there were no churches in his native land. Just synagogues and one Temple. The church was "born" in the morning hours of the day of Pentecost. Christ ascended earlier than that. How could he have possibly "Had Church"? His standing in boat or sitting under a tree are part of what's been recorded of his life.     Um....... Don't take my point quite so literally. I was making a perhaps offhanded comparison of Jesus teaching (and feeding!) the multitudes as he spoke to them outside, to contemporary liturgical "depictions" of his acts.   The purpose for the perhaps flawed comparison was to bring out the fact that neither "High Church Smells N Bells" nor "High Hollerin N Shoutin' at the Christ-Annointed New Revelation Church of God In Christ are "historically informed" in terms of form and structure, vis a vis the actual teachings of Jesus from which both groups, in general, derive their content.   Perhaps the comparison didn't make any sense, so just forget it I guess if it didn't.         =3D-> I think you're being presumptuous with some of your statements. <-=3D     Not a-tall. I think you're being presumptuous for presuming that I am being presumptuous.         =3D-> The smells and bells are not necessary for Christian worship but evidently, for some, they are necessary. Please don't dismiss it as a bunch of superstitious "hocus pocus" as I think you're implying (the terms been used for centuries to describe magic tricks. "hocus pocus" was an easily regurgitated phrase people heard when mass was said in Latin.. just a bit of history). <-=3D     Now, you're really being presumptuous. I neither said, implied nor suggested that there is no validity in high liturgy. I did not even once use the term "Hocus Pocus" --- the term I -did- use, "Smells N Bells," I have heard every practitioner of High Liturgy whom I know use this - as a term of endearment.         =3D-> Of all religions Christianity demands the most belief in the supernatural. <-=3D   Now, that's a REEEEEEALLY presumptuous statement, and so astonishingly and preposterously flawed that it boggles the mind that anyone would actually utter it!   Never read the writings of, say, L. Ron Hubbard have you? How about Mary Baker Eddy? Joseph Smith? How about Claude Vorilhon? Shoko Asahara?? Sun Myung Moon???   To say nothing of the ancient mystery religions [Egypt, Sumeria, Atlantis...] --- from which much Christian 'content' may have been appropriated, but other than on a very superficial level have absolutely nothing in common with Christianity PER SE.       And with that, we probably could not have strayed further from the stated topic of this list.......!       ~ C    
(back) Subject: Re: Getting sick from Communion (was "Playing during liturgical..") Sarcasm, to be certain From: "Merry Foxworth" <m.foxworth@verizon.net> Date: Sun, 18 Jul 2004 00:07:45 -0400   =B4=A8=A8)) -:=A6:- =B8.=B7=B4 .=B7=B4=A8=A8)) ((=B8=B8.=B7=B4 ..=B7=B4 -:=A6:-   An excerpt from Robert Giddings "Musical Quotes and Anecdotes", published in Longman Pocket Companions: "There let the pealing organ blow, To the full-voiced choir below, In service high, and anthems clear, As may with sweetness, through mine ear, Dissolve me into ecstasies, And bring all Heav'n before mine eyes". John Milton - Il Penseroso (1632).   Merry Foxworth Open Door Realty Boston, MA 02131 617 469-4888 x207 877 865-1703 toll free http://www.opendoorrlty.com/   ....> Amazing. Hey, let's go one step further. Everyone bring their own cracker and a little thermos of wine, and we'll let the minister just consecrate those. :) (Sarcasm, to be certain.) > > :) > you mean BYOB communion???      
(back) Subject: RE: communion packets From: "Jeff White" <reedstop@charter.net> Date: Sat, 17 Jul 2004 23:50:46 -0500   > Kneeling for communion is much-despised these days ... I think when I > meet my God on the Day of Judgment I will find myself on my knees ... is > anything LESS appropriate when I meet Him to RECEIVE Him in the > Sacrament of the Altar?   Bud, I agreed with everything you said in this, except....well, this I'm = not too sure about. Although, I know what you're saying. You're not saying that it's less appropriate to not kneel, but that it shouldn't be = abandoned, right? Because otherwise, what about the elderly person who can't kneel = at the altar? What about the shutin, or the person requesting private communion in the pastor's office?   I'm just throwing thoughts out there. No argument from me! :)   One last thought: The disciples were seated when receiving the First Communion. :)   Jeff    
(back) Subject: RE: Playing during liturgical events From: "Jeff White" <reedstop@charter.net> Date: Sat, 17 Jul 2004 23:51:39 -0500   Jeremy I couldn't agree more!!   Jeff -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org]On Behalf Of = Jeremy Wance Sent: Saturday, July 17, 2004 5:47 PM To: pipechat@pipechat.org Subject: Re: Playing during liturgical events     Personally, I will take my chances with the chalice. For those of you = who shrink with fear, perhaps you should consider the case of the water = fountain....well known as a leading source of transmission of = mononucleosis and influenza. I'll trust the antiseptic capacities of = the wine and the silver...not to mention a good purificator. If you are = particularly worried, take an extra gulp from the chalice, just in case = you feel the need for some extra antiseptic. <g> In the case of such a = virulent and unpreventable epidemic as SARS I would perhaps feel = differently. We're all capable of getting a flu shot and taking care of = ourselves otherwise.   By the way...An Episcopal church I have visited is replete with = intinction cups which look like small chalices. They are held by the = chalicifers in the hand with which the particular chalicifer also holds = the purificator. Personally, it seems like a delicate balance. I don't = fancy having to mop Jesus up.   Cheers! Jeremy jwance@cox.net AIM Screen-name: jeremywance "Bring me my Bow of burning gold:/ Bring me my Arrows of desire:/ = Bring me my Spear: O clouds unfold!/ Bring me my Chariot of fire!" -- = Wm. Blake
(back) Subject: RE: wine and Welch's From: "Jeff White" <reedstop@charter.net> Date: Sat, 17 Jul 2004 23:56:52 -0500   OK...I'm with you on the wine thing. However, we do have some who are alcoholics and must resist the communion wine. Therefore, the grape juice is available to those who feel they must use it. There are some = medications that also prohibit the ingestion of alcohol. I would not say that these = who partake of the non-fermented grape are not communing.   By the way, since there has been a complaint about keeping things ON = TOPIC, I play a 27-rank Zimmer PIPE organ, which looms over the altar. (tongue-in-cheek)   Jeff     > -----Original Message----- > From: pipechat@pipechat.org [mailto:pipechat@pipechat.org]On Behalf Of > Raymond H. Clark, Quilisma Publications > Sent: Saturday, July 17, 2004 9:01 PM > To: PipeChat > Subject: wine and Welch's > > > I've heard it said (from the pulpit, no less) that at the miracle at the > wedding feast in Cana, Jesus turned the water into GRAPE JUICE = (chuckle). > > Nope. > > It was WINE. > > W-I-N-E.