PipeChat Digest #4804 - Tuesday, October 5, 2004
 
Re: renewal music...to me
  by <Gfc234@aol.com>
Re: Haskell Reedless Oboe
  by "Paul Smith" <kipsmith@getgoin.net>
Re: Symphony Hall Spec
  by "Harry Grove" <musicman@cottagemusic.co.uk>
Bolcom
  by "Glenda" <gksjd85@direcway.com>
Was: renewal music...to me
  by "Glenda" <gksjd85@direcway.com>
 

(back) Subject: Re: renewal music...to me From: <Gfc234@aol.com> Date: Tue, 5 Oct 2004 00:48:43 EDT     In a message dated 10/4/04 9:52:55 PM, nicemusica@yahoo.com writes:     >=20 > To me, when I think of renewal music, I thik of a situation where the orga= n=20 > is a key part of worship, yet the musician is open minded to tastefully=20 > implementing new music. For example, going to the piano occasionally to of= fer a=20 > Psalm Prelude of John Coultraine or a liveley rendition of Come Sunday by=20 > Ellington. This an also mean using the more tasteful, not-so-Velveeta soun= ing=20 > tunes like Be Not Afraid (yuck) or "dumb down" tunes. Using hymn-based org= an=20 > music (and not just the Orgelbuchlein or Schubler chorales) is also nice,=20= and=20 > something that aids in preservation of the instrument. > Resoures by Michael Burkhardt and David Cherwein are great for tastefully= =20 > renewing music. I learned alot by listening to Burkhardt in a hymn fest an= d in=20 > a master class. It was very renewing what he did with the hymn=20 > accompaniments for Leoni, Merles Tune, and By The Babalonian (spelling?) W= aters. He used=20 > all the colors of the organ and came out of the box that keeps so many peo= ple=20 > down and the organst going out the door. > As long as we stay in these boxes, people will continue to say that the=20 > organ is "phallic...masculinity". Thats what the problem is now. We cant e= xpect=20 > people to make churches grow if we dont offer some tasteful newness. We wi= ll=20 > continue to see doors close and get 50 members to come if=A0we =A0dont sto= p=20 > playing Titolouze and Scheideman eeery Sunday. Offer some familiar and sin= g-along=20 > tunes. Even Diane Bish wrote here hymn arrangements after many in her=20 > congreagation said that they would love to hear some familiar tunes from t= ime to=20 > time. And yes, Im not afraid to say I use some in my job. Im not above it.= I=20 > also offer them ligitamate, tuneful=A0pieces by Bach, but I mix things. Ne= ver do i=20 > do anything as dated as a verse of a Pange Lingua. They don't know that=20 > chant, or that style. Some Sunday I may pull out a couple of Bach Choral p= reludes=20 > from the OB, and play a postlude from a Genevox/Church Street or a Mayhew=20 > Collection. > =A0 >=20   what the heck is all this supposed to mean?         Gregory Ceurvorst 1921 Sherman Ave. #GS Evanston, IL 60201 847.332.2788 home/fax 708.243.2549 mobile gfc234@aol.com gfc234@nextel.blackberry.net  
(back) Subject: Re: Haskell Reedless Oboe From: "Paul Smith" <kipsmith@getgoin.net> Date: Mon, 4 Oct 2004 23:50:48 -0500   I have an Estey "Labial Oboe" (well, two actually - but I'm working on = my acquisitive problem!) and an Oboe Gamba. The Estey pipes (with a = Haskell bass octave) have a two-piece body. The lower 2/3 or so has = parallel sides, then the top section tapers inward. It has a decidedly = Oboe quack, and when the wind is carefully regulated right to the brink = of squalking, it even has the innitial spit of a reed. The Oboe Gamba = (maker unknown) is truly in the string family, with parallel sides all = the way up, and it has a remarkably open and bright stringy sound. If = the Oboe Gamba is an "Oboe" at all, then it is a labial one. But it = doesn't much resemble a reed when you hear it. I'm guessing the makers = of the Oboe Gamba thought of it as a string stop that could be used in = place of a small Oboe when the real thing was impractical. ----- Original Message -----=20 From: Daniel Hancock=20 To: PipeChat=20 Sent: Monday, October 04, 2004 12:56 PM Subject: RE: Haskell Reedless Oboe     The "Oboe Gamba" stop was common on M=F6ller trackers installed out in = the   country. I grew up with one.       Karl E. Moyer   Lancaster PA           Hello Karl and List;       Is there any difference between an "Oboe Gamba" and an "Oboe Labial?" = Couldn't you say that an oboe gamba is also a labial oboe, too?       I was of the impression that oboe gambas were rather common, until I = ran across the following entry on the Encyclopedia of Organ Stops Online = (http://www.organstops..org/o/OboeGamba.html):       "A very rare string stop of 8' pitch. The name is an enigma, as no = known example resembles an Oboe. Both examples cited below are of = spotted metal, scale 62.       Examples   Oboe Gamba 8', Swell; (location unknown); Mudler Hunter c1910. (A very = keen string.)       Oboe Gamba 8', Swell; Mann's Mortuary Chapel, Knoxville, Tennessee, = USA; Hook & Hastings opus 2575, c1929. (Sounds similar to a Geigen = Principal; now in the residence organ of Dave McClellan.)"       My suspicions are that an oboe gamba (although it may not be shown as = such on the stop-knob/tab) really isn't all that rare. Is that the = consensus elsewhere?       Daniel Hancock   Springfield, Missouri  
(back) Subject: Re: Symphony Hall Spec From: "Harry Grove" <musicman@cottagemusic.co.uk> Date: Tue, 5 Oct 2004 08:03:17 +0100   ----- Original Message ----- From: "mack02445" <mack02445@comcast.net> To: "Pipechat" <pipechat@pipechat.org>; "Pipoeg-L" <PIPORG-L@listserv.albany.edu> Sent: Tuesday, October 05, 2004 5:03 AM Subject: Symphony Hall Spec   And there was me thinking that THIS was 'Symphony Hall' ...   http://www.necgroup.co.uk/visitor/symphonyhall/symphonyorgan/specifications= 1.asp     Harry Grove [a.k.a. a confused musicman]    
(back) Subject: Bolcom From: "Glenda" <gksjd85@direcway.com> Date: Tue, 05 Oct 2004 02:46:00 -0500   Has anyone recorded the Gospel Preludes Book 1, particularly the "What a Friend We Have in Jesus"? I know Martin Jean recorded Book 4, but so far did not find a recording of WAF in my search of the OHS catalog.   Glenda Sutton gksjd85@direcway.com          
(back) Subject: Was: renewal music...to me From: "Glenda" <gksjd85@direcway.com> Date: Tue, 05 Oct 2004 02:46:01 -0500   Is there anyone on the list playing Titelouze and Scheidemann every Sunday? Just wondering. I=92ve not attended any of those services.   I believe that the music in the church, in order to be meaningful to the congregation, needs to fit somewhat in their tradition and expected genre of music. When I play for the low Methodists down town, I don=92t generally select Bach choral preludes =96 it is probably meaningless to them. Neither do I automatically discount them. Now the Lutherans and the Episcopalians (some of the latter) still sing some of those chorales. And when I use an unfamiliar one, I also tried to put a blurb in the bulletin, with an explanation or part of the text. =20   When I sub, I do try to introduce music the members don=92t hear every week from the incumbent =96 I am, after all, not him. But when choosing music, I leaf through the church=92s hymnal to get an idea of what vestiges of my repertoire and tradition fit and don=92t fit with that church. Attending that church once or twice to hear the normal fare is also of enormous help.=20   Each denomination and church are different, and what may be familiar and meaningful and acceptable by one denomination and congregation may not be to another. There is a certain amount of leeway in each church for introducing new styles and repertoire, but then again, we=92re talking about worship, not recital-giving. What Desiree thinks works at her church would not have been deemed acceptable by the congregation at my old church, much as playing =91Amazing grace=92 or =91Jesu, joy of = man=92s desiring=92 would not be welcome at a Jewish synagogue. =20   Yes, hymn-based pieces are an important part of any worship.   Being a church musician is a sacred trust, and requires a little bit of work =96 thought and preparation. There=92s a little more involved than throwing together at the last minute some pieces that require little or no skill, particularly if you=92re being paid to do the job. I guess = that is what I=92m most concerned about =96 that the music of the church not = be a congealed menagerie, a thoughtless thrown-together morass of easy-to-play clich=E9s. While there is much in contemporary music and renewal music to give us pause and make us reexamine what reaches people, we also must not give way to mere pandering. Music in church is more than a salve to make people feel warm and fuzzy =96 it should be a conduit to the Almighty.   I guess I will always personally prefer a liturgical church with observance of the seasons and set lectionary. The structure allows one to develop an entire theme to weave the worship experience into a whole, and to provide variety within that structure. But that approach is not for all, and I don=92t slavishly follow it when playing for other churches. It=92s good to know where Ellington is appropriate, and where it is not.   Sorry, but this sermonette is being written at 2:30 in the morning. Don=92t ask what it means. I=92ll go back to bed now.   Glenda Sutton gksjd85@direcway.com   =20