PipeChat Digest #4806 - Wednesday, October 6, 2004
  by <Gfc234@aol.com>
Exciting and Beautiful Early Music
  by "Beau Surratt" <Beau.Surratt@theatreorgans.com>
Music List Oct. 10
  by "Beau Surratt" <Beau.Surratt@theatreorgans.com>
Performing Art College Fair helps a lot
  by "T.Desiree' Hines" <nicemusica@yahoo.com>
Re: how about reedless reeds?
  by "Andy Lawrence" <andy@ablorgans.com>
Re: Performing Art College Fair helps a lot
  by "Noel Stoutenburg" <mjolnir@ticnet.com>
forwarded review of Cameron Carpenter concert
  by "Pat Maimone" <patmai@juno.com>

(back) Subject: Q! From: <Gfc234@aol.com> Date: Tue, 5 Oct 2004 22:05:59 EDT     In a message dated 10/5/04 12:51:25 PM, Georgewbayley@aol.com writes:     >=20 > 5 October 2004 >=20 > =A0 >=20 > Dear Desiree et al. >=20 > =A0 >=20 > Ellington's "Come Sunday" is an extraordinary piece. Here at St. Peter's=20= in=20 > Lewes, Delaware, though we subscribe to the great Anglican choral traditio= n=20 > from the music of William Byrd to John Tavener, we are not exclusive. >=20 > =A0 >=20 > Come to St. Peter's to worship and you=A0hear the congregation=A0sing wit= h=20 > great enthusiasm some renewal hymns (whatever that means) alongside the gr= eat=20 > traditional hymns. You also will hear the parish choir sing the music of D= ave=20 > Brubeck, Howard Goodall, George Fenton, and similar composers. >=20 > =A0 >=20 > Cheers, >=20 > =A0 >=20 > George >=20 > =A0 >=20 >=20   As someone who has studied and plays jazz gigs on both the drums and the=20 organ, I get upset when a piece is classified "Jazz" if there is not ONE lic= k of=20 IMPROVISATION in it. Jazz becomes alive ONLY with improvisation-whether it= is=20 on a set melody and harmonic structure, or completely free. I do believe=20 that jazz is just as sacred as Bach, because the Holy Spirit provides the=20 inspiration and creativity ,or lack thereof (LOL), in the moment.   I'll get off my soap box and back on the bench to finish Clerambault's=20 Caprice sur les grands jeux, which I hope won't bore everyone to tears on=20 Sunday-After all, it was good enough for Louis XIV and the other musicians a= t=20 Versailles!   gfc         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: Exciting and Beautiful Early Music From: "Beau Surratt" <Beau.Surratt@theatreorgans.com> Date: Tue, 05 Oct 2004 22:15:22 -0500   Hi! I echo the comments of several people that early music doesn't have to be boring. The first time I heard Louis Marchand's Grand Dialogue in C Major, I was hooked. The same way with the DeGrigny Recit de Tierce en Taille and Veni Creator. Not to mention the Clerembault Greg mentioned and other composers such as Guilain, DuMage, etc.   My criteria for service music is as follows:   1. First I attempt to find QUALITY pieces based on the hymns for the day.   2. Next, I try to find pieces that are A: reflective of the season (i.e. choral preludes, etc. with appropriate information in the bulletin) or B: reflective of the overall mood of the service (i.e. free pieces)   3. If one and 2 don't work, I play music that speaks to me and pray that by the power of the Holy Spirit it will assist the congregation in their worship as well.     In doing things this way, I think I do a good job of A: programming a WIDE variety of music B: offering things that speak to each person at one point or another (at least a part of worship is personal rather than corporate) C: weeding out the possibilities of music that is inappropriate or trashy.       Blessings, Beau Surratt Director of Music and Organist First United Lutheran Church, ELCA 6705 Hohman Ave. Hammond, IN 46324      
(back) Subject: Music List Oct. 10 From: "Beau Surratt" <Beau.Surratt@theatreorgans.com> Date: Tue, 05 Oct 2004 22:18:17 -0500   Hi! Here's my service list for Sunday. The setting of the liturgy is setting 1 from the LBW with "This is the Feast" and "Let the Vineyards." Yes, I'm playing "Lord I Lift..." for the offertory, but it is a very tasteful and, yes, contemporary arrangement by Mark Hayes. I am NOT ASHAMED! :)     Prelude- =93Prelude on Lobe den Herren=94 J.S. Bach (Schubler) Gathering- LBW 543 =93Praise to the Lord, the almighty=94 Hymn of the Day- LBW 431 =93Your hand, O Lord, in days of old=94 Offertory- =93Lord, I Lift Your Name on High=94 arr. Mark Hayes Communion- WOV 738 =93Healer of our every ill=94 LBW 223 =93In the Quiet Consecration=94 LBW 211 =93Here, O my Lord, I see thee=94 Sending- WOV 790 =93Praise to you, O God of mercy=94 Postlude- =93Prelude on Lobe den Herren=94 J.G. Walther   Blessings, Beau Surratt Director of Music and Organist First United Lutheran Church, ELCA 6705 Hohman Ave. Hammond, IN 46324 October 10      
(back) Subject: Performing Art College Fair helps a lot From: "T.Desiree' Hines" <nicemusica@yahoo.com> Date: Tue, 5 Oct 2004 20:57:22 -0700 (PDT)   In my quest to find a school to complete my studies, I attended the = College Performing an Visual Arts fair in Chicagi Tonight. I was expecting = something small, which started at 7:00 PM at Chicago Musical College at = Roosevelt U. I walked at 5 minutes until and there were over 100 schools of Music and = Conservatories even from the UK, and about 300 or so perspective students. = Needless to say i was overwhelmed, but with joy. The nice thing about this was that all the schools, or most, that have = some type of Organ program were present. Some were strong, with the good = top notch teachers, some were the lesser ones (and of course, we all = choose/chose our school and teacher because s/he was right for us). Emory, = Meadows at SMU, Oberlin, Julliard, San Fran, Concordia, Michigan, = Westminster, Baldwin-Wallace, Rice, Cleveland, you name it, it was there. = And they had a Music alumn, that currently work for the schools, or have = music background, and work for the schools. It was really nice to attend = because I actually got to talk to a live person, from each school that = interested me. Some places I had not considered before, are now = interesting to me. Several schools mentioned that they are very strong and = that organ is not going any where, mentioning Northwestern. Just when I = had started to narrow down where I was going to apply I have even more to = think about. U of Memphis has Sacred Music...one of two State funded schools that has = Sacred Music...AND if there is not any school in Illinois that offers = Sacred Music with the level they offer it they would offer In-State = tuition costs. This was a nice thing to consider. Southern Metnodist/Meadows was really something. The admissions officer = from there was cute as a button and really sold Larry Palmer to me. They = also give big tuition breaks, but to transfer students. Still, money = savings is money savings. Their audition requirements were also very nice = for a transfer student, consisting of 4 works, a Bach a Baroque, a = romantic, and a contemporary. He was also very cute in correcting saying = "NOPE we have opus 101, MEYERSON has 100!" So they really made a great = impression. Westminster made me glow like a bulb...Sacred Music...Diane Belcher...1 = hour from New York City on the train...great scholarships...need I say = more? USC Thornton School- similar to above...Cherry/Ladd, Los Angeles, good = financial aid . One I had heard about a little...Longy in Cambridge...Similar to... = ABOVE...Peter Sykes, walk across the bridge to Boston, good scholarships. Baldwin-Wallace Conservatory- Nicole Keller..A Higgs/Eastman MM grad, a = semi-finalist for Dallas International, and an African-American woman = organist (unique, She, Joyce Johnson, and Paula Harrell are the only 3 I = know of holding university positions)...good scholarships and oportunities = in Cleveland...and they are growing, from reports. Peabody-Really corrdial, as SMU was, really selling Donald Sutherland and = the new Holtkamp, with the organ program brochures being front and center. Emory (grad school maybe?) really selling Atlanta, Albrecht, and the new = Jaeckel in the concert hall, which was a suprise to me. It looks to be a = very nice and large instrument. All the above place sent representatives that said, they were particularly = looking for organists since they were in the area, and that the organ = profs mentioned to hit us hard. All the above could tell me something = about the organ studios, organs, professors, financial aid, jobs in the = area for organists, being a transfer student etc. Some places that were very basic about the organ were actually suprising. = They were actually somewhat...oblivious to the organ at its school. And it = was suprising. Shepherd school at Rice could not tell me anything but very = basics. Boston Con was at a loss for words. Michigan was very basic in = their selling the organ program. Other schools that have established organ programs, but did not interest = me, were there as well. UM-KC Conservatory, U of IL, Wheaton College, = Cincinati, FL State, and others were there. A lot comes into play when I = am not interested, including the location. So anyone who may be a product = of any of the above, it's nothing personal, OK? This is just my journey, = and you have done yours. All in all...if you are an organ major to be, find one of these college = fairs. Its well worth the time to attend. It was amazing and helpful to = actually talk directly to music school reps (some being alumni living in = Chicago) to get the real scoop on this very intricate educational = endeavor. Schools where the teachers are sturdy, good performers and = encouraging, challenging teachers all marked high on my list.     From Desiree' T. Desiree' Hines Chicago, IL 60610 ---------------------------- For Compositions by Desiree' Frog Music Press www.frogmusic.com ------------------------------- FOR CONCERTS BY DESIREE' http://concertartist.info/bios/hines.html __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
(back) Subject: Re: how about reedless reeds? From: "Andy Lawrence" <andy@ablorgans.com> Date: Tue, 5 Oct 2004 23:43:59 -0500   Darn, this is hard to do. In fact, Tim Bovard just picked up my Estey "horn" today that I sold to him. Tim, maybe you could take a = picture of a mouth of one of these and post on the N&S website for us or something!? I still haven't sprung for a digital camera which is why my website is still ugly. Or maybe soon someone will throw away another = Estey and I'll have another. I really do not know much about how they work. It =   has sort of a beard, but one that is very complex in shape and almost = closer to the upper lip than the lower one. Very weird. Phil Stimmel, are you = out there? Any info from teh Estey Museum website? If not, maybe we oughta = do that! That would be fun.   Andy   On Mon, 04 Oct 2004 12:07:02 -0400, Mike Gettelman wrote > Hi Andy, > Some things have been said about the construction of these > reedless reed pipes, particularly concerning the design of the > languid. Could someone be a bit more forthcoming about how these > pipes create the reedy sound without becoming overly technical such > that we lay people might understand. You mention they are tricky to > build and voice. Could you expand a bit on that? Most of us are > familiar with the construction of a basic flue pipe. Could you tell > us how a labial reed differs? Thanking you in advance for the = education > Mike Gettelman > > Andy Lawrence wrote: > > >Here in Vermont, because we have so many old Estey's, (Haskell was an Estey > >employee for a long time) reedless reeds are all over the place. I = find > >them very useful. Its not really a substitute for a reed in the strict =   > >sense, but they can be used as a solo stop and they do add a bit of = growl to > >the ensemble, and if full compass can add bite to the pedal too. I say =   > >bring 'em back. They're tricky to build and voice, though, I suspect, = so > >maybe these days it would end up costing nearly as much as a real reed? > > > >Andy       A.B.Lawrence Pipe Organ Service PO Box 111 Burlington, VT 05402 (802)578-3936 Visit our website at www.ablorgans.com  
(back) Subject: Re: Performing Art College Fair helps a lot From: "Noel Stoutenburg" <mjolnir@ticnet.com> Date: Wed, 06 Oct 2004 01:51:43 -0500   Desiree wrote:   > U of Memphis has Sacred Music...one of two State funded schools that > has Sacred Music...AND if there is not any school in Illinois that > offers Sacred Music with the level they offer it they would offer > In-State tuition costs. This was a nice thing to consider.   I don't know whot the second State funded school with sacred music is that you refer to, but if it is not this one, then there will soon be a third: University of Texas at Austin is starting a Sacred Music program, headed by Gerre and Judith Hancock, formerly of St. Thomas, Fifth Avenue. Startup, IIRC, is September, 2005.   ns    
(back) Subject: forwarded review of Cameron Carpenter concert From: "Pat Maimone" <patmai@juno.com> Date: Wed, 6 Oct 2004 02:49:15 -0400   Dear Pipechatters, Susan LaGrande is the very active secretary of our Central Hudson Valley chapter of the American Guild of Organists. She attended the NYMA concert given by Cameron Carpenter Sunday, October 3, and with her permission, I forward her review to you.   Pat Maimone patmai AT juno.com St. Mary's Episcopal Church in the Highlands Cold Spring, NY 10516   Cameron Carpenter Shines in Cornwall By Susan LaGrande susanel2 AT hotmail.com On October 3, the New York Theatre Organ Society presented Cameron Carpenter in concert at the New York Military Academy, where the instrument is a 4-manual, 33 rank M=F6ller pipe organ (Opus 4925, 1927). According to the advance billing, the concert was supposed to consist of unspecified light classics and Broadway tunes. However, Mr. Carpenter had other, more exciting plans.   His appearance as he strode from the wings provided the first hint that this would not be a traditional theatre organ concert. He wore a boldly patterned red and white shirt, open at the neck and with the sleeves rolled to the elbow; tight low-rise pin-striped black pants and high-heeled patent leather ankle boots with long pointed toes. His hair is cropped close on the left side and rather romantically long on the right. With his lean physique, chiseled features, and intense, long-lashed dark eyes, he made a handsome, dramatic figure.   Mr. Carpenter immediately announced that he would not be presenting a traditional theatre organ concert, quoting Mahler: =93Tradition is the enemy of art.=94 He explained that he planned to play music that had touched him deeply and that he hoped would touch his audience as well. With that, he attacked the four-manual console with a fiery rendition of =93Stars and Stripes Forever,=94 playing the piccolo part on a 2=92 stop = in the pedals while maintaining the melody line, descant, and bass line on three manuals at once. While the audience was still catching its breath, Mr. Carpenter began playing the 20th Prelude and Fugue from Book II of Bach=92s = =93Well-Tempered Clavier,=94 subtly toying with the rhythms so that it sounded like cool jazz. In a similarly contemplative vein, he followed with a lovely version of the =93Skye Boat Song.=94   Next Mr. Carpenter played a wonderfully powerful transcription of Franz Liszt=92s =93Les Funeralles,=94 which will probably spoil my next hearing = of that piece as played on the piano. He followed that with an unannounced sprightly little piece which, he told me later, was by Edward MacDowell.   Stating that he was now in a =93better mood,=94 Mr. Carpenter shifted = gears and ripped through a high-powered version of =93Puttin=92 on the Ritz,=94 immediately followed by Bach=92s Chorale Prelude on "Nun komm=92 der = Heiden Heiland.=94 He ended the first half of his concert with Chopin=92s =93Opus = 10, Etude in D-flat,=94 playing the intricate left-hand part with his feet.   After a short break to restore feeling to the audience=92s nether regions, Mr. Carpenter returned to introduce Max Reger=92s =93Introduction and Passacaglia in F minor=94. He compared Reger to Bach in terms of the innovativeness and quality of his work and urged the audience to listen actively to the piece. While I do not share Mr. Carpenter=92s enthusiasm for Reger=92s music, I could admire the brilliance of his technique. This was the only piece I had heard so far that I thought probably could appear on any organ program anywhere.   A lovely, somewhat sentimental rendition of =93La vie en rose=94 followed = as a nice change of pace. Then Mr. Carpenter announced that he would be paying homage to the theatre organ tradition by improvising a =93Symphonic Metamorphosis of Themes=94 from the score by Nelson Riddle for the movie =93The Great Gatsby.=94 This turned out to be a wonderfully evocative = piece, beginning and ending with a very quiet ocean-swell effect in which his whole forearm rolled gently across the keys. Sprinkled throughout the piece were snippets of songs from the Roaring 20=92s, in which Mr. Carpenter was able to make use of some of the organ=92s special percussion effects.   After giving a little lecture on the nature of improvisation which included a wonderful miniature on the theme =93Row, row, row your boat,=94 Mr. Carpenter announced that he would close his program with a theme and variations based on our National Anthem. He began by stating the theme in a way that was simple and understated but definitely not square, then followed with at least ten widely disparate and creative variations, ending with a grand finale that left us (and probably the performer) breathless.   After two hours of playing, Mr. Carpenter graciously returned for an encore, and then stood at the back of the auditorium greeting audience members as they departed. There is no question that this young performer=92s generosity, passion, and technical brilliance will endear = him to audiences wherever he goes.       Thanks - Susan LaGrande Secretary, Central Hudson Valley Chapter, AGO 845-226-6496 http://www.chvago.org