PipeChat Digest #4846 - Thursday, October 21, 2004 A correction and a clarification by "Stephen Roberts" <firstname.lastname@example.org> Re: Michael 1 and 2 by "Jan Nijhuis" <email@example.com> Kimball rededication kindles memories by <Wuxuzusu@aol.com> Re: Knees together by "Kenneth Potter" <firstname.lastname@example.org> RE: Knees Together by "Michael David" <email@example.com> Re: Michael 1 and 2 by "Noel Stoutenburg" <firstname.lastname@example.org>
(back) Subject: A correction and a clarification From: "Stephen Roberts" <email@example.com> Date: Wed, 20 Oct 2004 16:43:48 -0700 (PDT) Dear List, John Foss credits me with having made criticisms of E. Power Biggs and = Helmut Walcha. . I don't think that I ever mentioned E. Power Biggs at = all, in fact. Others may have, but not I. If I did, however, then I = stand corrected. I reread the paragraph that I wrote about Helmut Walcha and Walter Kraft, = which were the two organists that Tim Grenz had mentioned earlier. I = called both "great men", which is hardly uncomplimentary. What I said = that neither is an example that we should emulate today. I realize that = may have given the impression that I don't think much of what they did. = Quite the contrary. Had I been clear, I should have said, "I don't think = that their RECORDED PERFORMANCES are something that we should try to = emulate today." And I stand by that statement, as well as the criticisms = I made of what they did on those recordings. The same can also be said of = the recorded performances of my teacher, Anton Heiller, as much as I loved = them when I was a student. Those of you who were around then can testify = what a revelation Heiller's recordings were. Now they strike me as a bit = old-fashioned, though very fine in their way--exactly my reaction to the = recordings of Walcha and Kraft. Though I had immense respect for Heiller, and still do, and was personally very fond = of the man, I wouldn't want to copy what he did on those recordings. One of my students played the E-Flat "St. Anne" Prelude for me today in a = lesson. While my own interpretation of the work now is still influenced = by what Heiller taught me when I studied the piece with him 30 years ago, = my own opinions about the work differ significantly from what I did then. = I tell my students that if I hear them play 20 years from now, and they = play pieces that I taught them exactly the same way as they had when they = were my student, I will think that I have failed as a teacher. Good = musicians' interpretations are a work in progress. One continues to have = revelations about great music all throughout one's life, I think. This is the problem with recordings. They are a moment frozen in time. = The performers who made them may have changed their minds about how a = particular passage ought to be played, but the recording remains the same. = Let's be fair: it's about 40 years since Walcha, Kraft, and Heiller made = those recordings. By the time I studied with him about ten years after he = made those recordings for the Bach Guild, Heiller was already doing some = things a bit differently from the way that he did them on the recordings. = Good musicians continue to grow and evolve. Heiller died in 1979 when he = was about the same age I am now; if he were still living, I am certain = that his playing would be quite different from the way it was then. The = same is true of Walcha and Kraft, I think. What I meant to say was that = we've learned quite a lot about Bach and Buxtehude since these three men = were alive and in their prime. If there were still alive, they would no = doubt have continued to learn and develop, and would have incorporated new discoveries and insights into their playing. = I have the greatest respect for all three of them. Stephen Roberts Western CT State University, Danbury, CT USA
(back) Subject: Re: Michael 1 and 2 From: "Jan Nijhuis" <firstname.lastname@example.org> Date: Thu, 21 Oct 2004 07:51:02 +0800 ----- Original Message ----- From: "Beau Surratt" <Beau.Surratt@theatreorgans.com> To: "PipeChat" <email@example.com> Subject: Re: Michael 1 and 2 Date: Tue, 19 Oct 2004 17:26:00 -0500 > > Most Hymnals I've seen use both "Ton-y-Botel" (Tune in a bottle) and > > "Ebenezer" (stone of help) for the hymn "Once to Every Man and Nation", > > "O, the Deep, Deep Love of Jesus", and/or "Hail, thou once despised > > Jesus" (others?) >=20 > "Thy Strong Word" I was thinking along the lines of other hymntunes that have multiple names. -- Jan Nijhuis firstname.lastname@example.org --=20 ___________________________________________________________ Sign-up for Ads Free at Mail.com http://promo.mail.com/adsfreejump.htm
(back) Subject: Kimball rededication kindles memories From: <Wuxuzusu@aol.com> Date: Wed, 20 Oct 2004 20:10:23 EDT Greetings: I too am partial to the romantic sound of the Kimball, however, the von Beckerath has a certain refinement to its sound, akin to comparing the = sound of an electric motor to that of a steam engine. I'd like to hear a concert in = which an organist plays music appropriate to the organ's design on both organs. Stan Krider In a message dated 10/20/2004 7:44:49 PM Eastern Daylight Time, RMaryman@aol.com writes: I was also at the concert with Wm Haller and Dennis James, and even with the Kimball only about 50 percent functional is was QUITE = dominant in the room when comparing the Kimball and the Von Beckerath...gimme the = Kimball any day of the week.
(back) Subject: Re: Knees together From: "Kenneth Potter" <email@example.com> Date: Wed, 20 Oct 2004 18:15:17 -0700 (PDT) I can heartily sympathize with Beau Surratt who said he just couldn't keep his knees together. I can't either. It always seemed pure torture. I strongly suspect that women organists would have an easier time of it. As for me there is just a problem with what to do with the snudgies whilst I practice. My pedal work may not be the best in the world, but at least I ain't singin' soprano! Ken =3D=3D=3D=3D=3D =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D Kenneth Potter, Substitute Organist 845/358-2528 <firstname.lastname@example.org>, 845/480-1416 cell =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D
(back) Subject: RE: Knees Together From: "Michael David" <email@example.com> Date: Wed, 20 Oct 2004 21:35:56 -0500 Are Marilyn Kaiser's sandwiches on Keiser rolls? michael -----Original Message----- From: firstname.lastname@example.org [mailto:email@example.com]On Behalf Of John L. Speller Sent: Wednesday, October 20, 2004 8:16 AM To: PipeChat Subject: Re: Knees Together ----- Original Message ----- From: "Beau Surratt" <Beau.Surratt@theatreorgans.com> To: "PipeChat" <firstname.lastname@example.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: Michael 1 and 2 From: "Noel Stoutenburg" <email@example.com> Date: Thu, 21 Oct 2004 00:50:44 -0500 Jan Nijhuis wrote: >I was thinking along the lines of other hymntunes that have multiple = names. > > There are a number of these, too, but they're significantly harder to track down, because this phenomenon usually takes the form that a hymn tune has one name in one source, and a different name in another source. If one is not looking at the right pair of different hymnals, one can miss the occurrence. One cause of the phenomenon is in German Chorales, especially in older English sources, where there was a tendency to assign a name to a tune known to the Germans by the incipit of the text it was usually, or first, associated with. As an example of this, the 1904 Methodist Hymn Book with tunes, Published in London, UK, contains a tune named "Spires", composed by Luther, and known by the incipit, "Herr Jesu Christ, dich zu uns wend". The same book contains a tune named "Grafenberg", which is known in other sources as "Wir pflugen", again drawn form the incipit of the text, the translation of which is also found in the cited Methodist Hymn book: "We plow the = fields". ns