PipeChat Digest #4844 - Wednesday, October 20, 2004
Re: Interpretations & "new ideas"
  by <Keys4bach@aol.com>
Re: More economy of movement, except from the jawbone...   :)
  by "Octaaf" <octaaf@charter.net>
Re: Interpretations & "new ideas"
  by "Harry Grove" <musicman@cottagemusic.co.uk>
Re: Economy of Movement
  by "John Foss" <harkat@kat.forthnet.gr>
Knees Together
  by "Beau Surratt" <Beau.Surratt@theatreorgans.com>
Re: Knees Together
  by "John L. Speller" <jlspeller@swbell.net>
Re: Appendages....and an apology
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Praise him on the loud organs
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Re: wurlitzer & hammond
  by "Jerry Richer" <jerry@ChirpingBat.Com>
Kimball rededication kindles memories
  by <Wuxuzusu@aol.com>
Re: Knees Together
  by "jch" <opus1100@catoe.org>
Organ music publishers (cross posted)
  by "Stephen Best" <stevebest@usadatanet.net>
John Stanley Voluntaries
  by "John Jarvis" <jljarvis@comcast.net>
Re: Nilson Pedal Technique
  by "Jerry Richer" <jerry@ChirpingBat.Com>

(back) Subject: Re: Interpretations & "new ideas" From: <Keys4bach@aol.com> Date: Wed, 20 Oct 2004 05:02:10 EDT   In a message dated 10/20/2004 4:57:36 AM Eastern Standard Time, TheShieling@xtra.co.nz writes:   > will continue to enjoy Bach's music wherever I can,   you go Ross......   dale in florida  
(back) Subject: Re: More economy of movement, except from the jawbone... :) From: "Octaaf" <octaaf@charter.net> Date: Wed, 20 Oct 2004 04:06:40 -0500   Stephen,   Ok already. Enough. I give. I'm an idiot. My teachers were = incompetent lousy musicians. I promise I'll never make another feable = attempt to play or teach the organ again. My degree belongs in the = rubbish bin. Thanks for the moment of clarity. I get it.   My deepest apologies to the List.   Tim
(back) Subject: Re: Interpretations & "new ideas" From: "Harry Grove" <musicman@cottagemusic.co.uk> Date: Wed, 20 Oct 2004 10:09:34 +0100   Surely it's the vast range of individual interpretations - due to = different voicing, different ability ranges, difference tastes and expectations - different styles for different ages - which is the JOY of playing music, = and of composing of course.   I'm often completely surprised when hearing others conduct things which I have written. They extract new meaning and interpretation which, though presumably dormant within the score, I had not fully realised, myself.   Harry Grove [a.k.a. a musicman open to re-interpretation]     ----- Original Message ----- From: "Jarle Fagerheim" <jarle_fagerheim@yahoo.co.uk> To: "PipeChat" <pipechat@pipechat.org> Sent: Wednesday, October 20, 2004 8:14 AM Subject: Re: Interpretations & "new ideas"     > I can't make it sound the way it sounded in Bach's time, but I still try =   > to learn as much as possible about historic performance practise. > - Jarle    
(back) Subject: Re: Economy of Movement From: "John Foss" <harkat@kat.forthnet.gr> Date: Wed, 20 Oct 2004 13:37:26 +0300   More economy of movement, except from the jawbone... :) (Stephen = Roberts)   I have stayed out of this debate so far, as Tim Grenz is my partner on the Organs and Organists Online website. I agree with Stephen Roberts over minimal movement - Norman Johnston, whose students grace the Australian = and International musical scene with a virtuosity of outstanding merit - was himself a student of Andre Marchal, who said precisely the same as Widor = and Vierne, and he taught me and his other students precisely this, as did = Ralph Downes. Ralph Downes used the Dupre method for teaching technique, but he did once say to me "...however, in a recital concentrate on playing the music!" I would also add that you should be doing 7 hours practice a day = to put this into effect. I disagree with Stephen Roberts over E Power Biggs and Helmut Walcha - = they were amongst the first to re-introduce authenticity into Bach performance = in the 1950's, and though interpretative ideas may have progressed since = then, performers and musicologists have benefitted from their scholarship. I = have heard them both play, and those on PIPORG who have been reading my = somewhat extensive review of 21 years of organ building by Maurice Forsyth-Grant = may have noted Maurice's comments on hearing Helmut Walcha play at a confirmation service. It is perhaps worth quoting here : "No words can express the occasion. Probably the finest organist for Bach = in the world, a magnificent new organ, and two hours of J.S.Bach's works all played from memory. He must have played amongst other works, the whole of the Orgelbuchlein. It was an unforgettable experience and one that was to completely change my ideas of what a proper organs should sound like" Should anyone be in any doubt as to Tim Grenz's credentials as a player I suggest they listen to his masterful Bach performances on Organs and Organists Online. John Foss www.organsandorganistsonline.com www.http://launch.groups.yahoo.com/group/orgofftop/      
(back) Subject: Knees Together From: "Beau Surratt" <Beau.Surratt@theatreorgans.com> Date: Wed, 20 Oct 2004 05:52:01 -0500   Hi! I understand what you mean about not being able to keep your knees together due to discomfort issues! That was my main problem with my first organ teacher in college: he would put a piece of paper between my knees and make me keep it there while playing in order to keep my knees together. I just couldn't do it- I've TRIED to keep my knees together while playing and it JUST AINT WORTH IT! :) Don't get me wrong, I'm all for economy of motion and the like, just as long as I don't have to keep my knees together to do it. There are plenty of organists who have amazing pedal technique and don't keep their knees together.   Since we're on the subject of pedal technique, name some organists who, in your opinion, have great pedal technique.   Marilyn Kaiser is one I know of. I hear she each sandwiches while practicing pedal scales! I tried that when I was at Northern Illinois University- I would eat my lunch while practicing pedal scales- it made it seem less burdensome at the time! :)     Blessings, Beau Surratt Director of Music and Organist First United Lutheran Church, ELCA 6705 Hohman Ave. Hammond, IN 46324     -----Original Message----- From: Innkawgneeto@cs.com To: pipechat@pipechat.org Date: Tue, 19 Oct 2004 23:07:10 EDT Subject: Re: Economy of motion and technique (very long!)   > I remember saying this a few years back, but... > > some of us (present poster included) cannot keep my knees together very > long > without a significant measure of discomfort. > > (Is that diplomatic and euphemistic enough?) > > Neil Brown >      
(back) Subject: Re: Knees Together From: "John L. Speller" <jlspeller@swbell.net> Date: Wed, 20 Oct 2004 08:15:52 -0500     ----- Original Message ----- From: "Beau Surratt" <Beau.Surratt@theatreorgans.com> To: "PipeChat" <pipechat@pipechat.org> Sent: Wednesday, October 20, 2004 5:52 AM Subject: Knees Together     > Marilyn Kaiser is one I know of. I hear she each sandwiches while > practicing pedal scales! I tried that when I was at Northern Illinois > University- I would eat my lunch while practicing pedal scales- it made = it > seem less burdensome at the time! :)   So that's where all those crumbs under the pedalboard came from <g>   John Speller      
(back) Subject: Re: Appendages....and an apology From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Wed, 20 Oct 2004 06:54:34 -0700 (PDT)   Hello,   Stephen Roberts is a man after my own heart. Whatever happened to Pedal to Manual couplers?   Vierne 6th? (with a willing assistant)   Barber Toccata?   Middelschulte Perpetuem Mobile?   Easy peasy!!! I reckon Virgil had one.   Just imagine, in the F major Toccata by Bach, one could actually stand up in the "pedal" solo and not just PLAY to the gallery, but WAVE at them also!   Bring back eclectic action!!!   Regards,   Colin Mitchell UK   --- Stephen Roberts <sroberts01@snet.net> wrote:   > Dear List, > > Ross wrote: "Personally, I couldn't give an > intercontinental hoot what the organist uses to push > any key on manuals or pedal down, as long as the > music wins."       _______________________________ Do you Yahoo!? Declare Yourself - Register online to vote today! http://vote.yahoo.com  
(back) Subject: Praise him on the loud organs From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Wed, 20 Oct 2004 07:08:01 -0700 (PDT)   Hello,   I think I am the one who mentioned that the organ was almost certainly the loudest thing anyone would hear in the 17th-18th centuries.   I'm sure that cart wheels on stone sets, horses, people, barrels being rolled, minstrels and the like, would make a market-place a very noisy affair, absolutely nothing would come close to the impact of a large baroque organ in a resonant church. It reminds me very much of the story that Carlo Curley likes to tell.   He went to the Royal Albert Hall for pre-concert practise, to find the pop group "Status Quo" blasting away. He went to the organ, switched it on, drew full organ, and when "Quo" ended their piece, planted his paws and feet on a huge chord. The pop group gaped in disbelief as 110dB rang around the hall.   Carlo got off the instrument and shouted, "Now THAT'S organ power!!"   :)   Regards,   Colin Mitchell UK   --- Jarle Fagerheim <jarle_fagerheim@yahoo.co.uk> wrote:     > As I believe it has > been mentioned in previous discussions on this list, > the loudest sounds > a normal citizen of the 1700's would experience > (except for war) > probably came from a pipe organ. Bach's time was so > different from ours > that it's very difficult to compare.     __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com  
(back) Subject: Re: wurlitzer & hammond From: "Jerry Richer" <jerry@ChirpingBat.Com> Date: Wed, 20 Oct 2004 09:28:33 -0400   Don't undersell the C3 if it's in good shape. There are people who = hunt for C3s and B3s for resale abroad and in black churches.   Jerry
(back) Subject: Kimball rededication kindles memories From: <Wuxuzusu@aol.com> Date: Wed, 20 Oct 2004 10:21:20 EDT   Greetings all,   The Kimball at 1st Congregational Church in Columbus, OH sounded awesome under the hands of Tom Murray. My favorite was his featuring the three = Oboe stops (including the English Horn) in one piece. Even with a nearly packed = church the instrument sounded great.   Good friend organist Marc Peters remembered, and Clark Wilson verified, an =   earlier concert (mid '70s) which featured William Haller at the von = Beckerath (?) and Dennis James at the Kimball (?) playing "Ride of the Valkyries!" = I'd love to hear that once again with both the Kimball and von B in top shape = and the room at its accoustical best. Remember, Rudolph von Beckerath would not install his organ in that room until the church made some major = accoustical alterations. I'm not sure what shape the Kimball was in for the = Haller/James duet.   At any rate, the concert was taped by local public radio station, WOSU-FM (89.7) for broadcast on December 5th @ 2 PM. This includes an inteview = with Tom Murray.   Musically,   Stan Krider  
(back) Subject: Re: Knees Together From: "jch" <opus1100@catoe.org> Date: Wed, 20 Oct 2004 10:28:19 -0500   At 08:15 AM 10/20/2004, you wrote:   >So that's where all those crumbs under the pedalboard came from <g> > >John Speller When it comes to cleaning under the pedalboard...I'll take the Sandwich = eater any day with his crumbs over the tobacco chewer and..........'   'True story.....there was a tobaccee chewing organist that played a big Moller on the southeast side of Chicago   jch      
(back) Subject: Organ music publishers (cross posted) From: "Stephen Best" <stevebest@usadatanet.net> Date: Wed, 20 Oct 2004 13:01:39 -0400   Hi everyone,   I've written a few things for organ that people I respect think may be worth publishing. Here's the question: is it appropriate to submit the same music to several different publishers at the same time? I'm mindful of the fact that it often takes several months for a publisher to say "yes" or "no," and if the judgement is "no," then one is faced with the same process again with someone else, with the possibility that the one-at-a-time method could take years unless one lucks out. Anything any of you can offer about etiquette in dealing with publishers will be much appreciated.   Steve Best in Utica, NY    
(back) Subject: John Stanley Voluntaries From: "John Jarvis" <jljarvis@comcast.net> Date: Wed, 20 Oct 2004 11:09:47 -0700   I am looking for a copy of "30 Voluntaries for Organ and Harpsichord" by John Stanley. The Organ Historical Society online catalog indicates = that it is out of print and no longer available. It appears that they have a photocopied version for $49.95. Please contact me off-list if you have = a copy that you would like to sell to me. JLJ   =20   =20    
(back) Subject: Re: Nilson Pedal Technique From: "Jerry Richer" <jerry@ChirpingBat.Com> Date: Wed, 20 Oct 2004 14:57:26 -0400   Hal Leonard distributes the book. I used to be a Hal Leonard dealer and am just in the process of getting set up with them again.   Jerry     SYSTEM OF TECHNICAL STUDIES IN PEDAL PLAYING Publisher: G. Schirmer, Inc. Composer: Lars Nilson $10.95 (US) Inventory # HL 50327970 ISBN: N/A UPC: 73999279702 Width: 9 Length: 12 68 pages