PipeChat Digest #4853 - Tuesday, October 26, 2004
Re: leon boellmann
  by "Randolph Runyon" <runyonr@muohio.edu>
Pedales de combinaison at St-Sulpice
  by "Stephen Roberts" <sroberts01@snet.net>
OOPS! A correction about St-Sulpice
  by "Stephen Roberts" <sroberts01@snet.net>
Re: this week's mp3
  by "Cole" <rcolev@woh.rr.com>
Monmouth University's Aeolian Organ
  by <Innkawgneeto@cs.com>
EMCATOS - Pipe Organ Pops / Silents in the House Announcement
  by "Len Beyersdorfer, MARATHON Digital Publishing" <LenB@MDigital
Re: CD's in worship a.k.a FOILED AGAIN
  by <RMB10@aol.com>
Re: CD's in worship a.k.a FOILED AGAIN
  by "Tim Bovard" <tmbovard@earthlink.net>
Re: leon boellmann
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>

(back) Subject: Re: leon boellmann From: "Randolph Runyon" <runyonr@muohio.edu> Date: Tue, 26 Oct 2004 20:28:43 -0400   on 10/26/04 7:18 PM, BlueeyedBear@aol.com at BlueeyedBear@aol.com wrote:   > can someone help me out? this weekend, being one of the very rare occure= nces > of halloween falling on a sunday, i'm playing boellmann's toccata from th= e > suite gothique for postlude. as usual, i like to put interesting tidbits= in > the bulletin so the congregation can relate better to whatever i'm playin= g. >=20 > i'm trying to find biographical info on leon boellmann, and am coming up > shorthanded. i've found a few web sites via google, and have looked in t= he > corliss arnold and kratzenstein books, but they have almost nothing on hi= s > life or works. can anyone tell me something more about this composer? >=20 > thanks a bunch! >=20 > scot in spokane >   According to Gilles Cantagrel's _Guide la Musique d'Orgue_, Boellmann was "born in Ensisheim [in Alsace, just a little north of Mulhouse] on Sept. 25= , 1862; died in Paris, October 11, 1897. Struck down by illness at less than forty years of age [actually at 34--RR], like Chauv=E9 and Bari=E9, L=E9on Boellmann composed a variety of music for chamber ensemble, orchestra (Symphony in F, Symphonic Variations with Cello), and organ. Called to the Cavaill=E9-Coll of Saint-Vincent-de-Paul [in Paris] in 1896, he had been, at the Neidermeyer School, the pupil of his uncle Eug=E8ne Gigout. The latter, after having contributed to making him known by often yield the keyboard to him at his own recitals, made it his task to disseminate his music, notably through two concerts organized to honor his memory in 1898.... Boellman belongs to the generation of Marty, Piern=E9, and Ropartz, whose works began to appear in the last decade of the nineteenth century. Faithful to Franck= , attentive to Widor's efforts, whose first eight symphonies were then available, they could not ignore the innovations of the young Debussy, although their music for organ, in part dependent on the romantic instrument, isolated them in an esthetic much more turned toward the past than toward a future that would bring luminous sonorities to the organ. Boellmann's registrations, like those of his organist contemporaries, brought, in effect, nothing new: grands choeurs, combinations of flutes, bourdons, strings or tremulants, solos on the harmonic trumpet or oboe.... But if, though trying here a fugue, there some Gregorian paraphrases, he remained sensitive to concert music and shown an inclination for nineteenth-century eclectic taste in its cultivation of the styles of all eras (e.g., the Menuet Gothique), some of his pages constitute a sort of stage between Franck, Widor and Vierne, notably the Allegro con moto of the Deuxi=E8me Suite, which foretells the Scherzo of Vierne's Sixth Symphony." O= f the Suite Gothique, Cantagruel writes: "This publication of 1895, which remains among the most famous of nineteenth-century organ music, groups together several pieces of varied character under a title that the music does not justify. The Introduction-Choral in C minor calls forth a form that belongs to the world of the Renaissance; the Menuet Gothique, a sort o= f grand chorus in dialogue in a major key, with a symetrical structure (A B A'), brings together two words whose rapprochement draws forth a smile; the Pri=E8re =E0 Notre-Dame moves in a sulplician [i.e., in the style of Saint-Sulpice--RR] sweetness that appears no more medieval than the Toccata in C minor, a very popular a paradigmatic piece: on a perpetuum mobile, an= d dramatic and rhythmically angular motive is exposed, which is not without analogies to that of Franck's Pi=E8ce h=E9ro=EFque. A second, more lyrical and ascending idea moving ever upward replies in three sections, while an epilogue agitated by sextuplets finishes on solid double pedals." From the site John Speller indicates, which is far too long to translat= e at present, I gather that Boellman's father was the village pharmacist, and 19 years older than L=E9on's mother, who was his second wife. There is this interesting tidbit about the Ecole Neidermeyer: The students banged away o= n some thirty-odd ill-tuned pianos all in the same room, presumably on different music all at the same time. Bedlam. Also, the uncle-nephew relationship between Gigout and Boellmann that Catagruel alluded to was based on marriage. I quote: "In 1885, L=E9on Boellmann married Louis Lef=E8vre= , the eldest daughter of Gustave Lefevre, direction of the School of Religiou= s Music since 1865. He thus entered into the Niedermeyer family, because Gustave had married Eulalie, one of the two daughters of Louis Niedermeyed, the founded of the prestegious Ecole. His other daughter, Mathilde, had married Eugene Gigou in 1869. Thus Boellmann became a nephew by marriage t= o his much venerated professor. Gigout, having had no child from his marriage, designated L=E9on as his adopted son." What Boellmann died of was a pulmonary illness he had contracted a decade earlier. "When he suddenly died on October 11, 1897, he left a wido= w and three children. His wife barely survived him, dying the following year (Oct. 23, 1898). The three orphans were raised by Gigout. One of them, Marie-Louise, became in turn professor of organ, notably of Pierre Bousseau."   Hope this is of interest.     Randy Runyon Music Director Zion Lutheran Church Hamilton, Ohio runyonr@muohio.edu            
(back) Subject: Pedales de combinaison at St-Sulpice From: "Stephen Roberts" <sroberts01@snet.net> Date: Tue, 26 Oct 2004 18:15:01 -0700 (PDT)   Dear List, Bud and others asked about the combination action at St-Sulpice. I can't = tell you how it is constructed, but I can tell you exactly how it = functions, since I played a recital there in January of 2003. The stop = action is pneumatic, if I understood Daniel Roth correctly. One draws a = combination, then pulls the Pedale de combinaison. That holds the = combination in a kind of memory, so that the stops can be reset. When it = comes time for the new combination that has just been drawn, one pulls the = Pedale de combinaison again, and the combination that has been set in = engaged. So one can set the next combination on the stops while the = previous combination is held in the memory by the Pedale de combinaison. = It's a very clever device, which must have been revolutionary in the = 1860's when Cavaille-Coll introduced it. Like the amphitheatre console, = it was also extremely expensive, so it was only used on super deluxe = organs like the ones at St-Sulpice and Notre Dame. The person who mentioned Sophie-Veronique Choplin was right on. She's = absolutely brilliant, and it's a shame she hasn't made more tours of the = USA. She is a fantastic improviser, and plays with the same fire as the = great female organists of the earlier French generation, like Jeanne = Demessieux and Marie-Madeleine Durufle-Chevalier. Both she and Daniel = Roth have no trouble at all manipulating the organ at St-Sulpice. Quite = frankly, I didn't find it hard to play either. I think that console is = very comfortable, especially when compared to other organs of the same = period by Walcker and Hook and Hastings. Daniel left me alone for a = couple of hours, and was quite surprised when I had everything registered = and written down when he returned. I had played other Cavaille-Coll = organs, and after a little while to get used to everything, I was = beginning to manage pretty well. Once you get the hang of it, it isn't = hard to play that organ at all. I had other people warn me about how hard the organ was to get used to, and how stiff the action was. I didn't = find it that way at all. One mustn't fight the action, but use arm weight = to help coax the keys to the bottom, just as one does on a fine grand = piano. Daniel proudly proclaimed to me, "The organ works exactly as it = did on the way on the day it was finished" and he was absolutely right. = It is a supremely elegant musical instrument in every respect. As it turned out, we used Daniel's registrations for the pieces I was = scheduled to play anyway, because he had them written down in a special = format for the registrants. While Masses are generally registered by the = organist alone, concerts always have assistants. It's a real sideshow, = too, with Daniel or someone else giving directions in a very loud stage = whisper--which can't be heard downstairs at all, by the way-- for the next = registration while the recitalist plays. The assistant on the right = works the Recit lever, by the way, and unlike Paul Emmons mentioned, does = not have to sit on the bench with the performer. The tribune is a real = hub of activity during a recital. I caught all of that on videotape by = the way, to show to my students. They can get a very good idea of what = it's really like to play a recital at St-Sulpice from that tape. And in = case anyone wants to know: the tape isn't for sale, and I can't really = make any copies. I made the tape for teaching purposes. Many directions in French music can't be done by the performer alone. = Please tell me: how does one do the diminuendo at the end of the Ave Maris = Stella Toccata from the <15 Pieces> of Dupre, for example, without the use = of an assistant? Both feet are in use, and it can't be done smoothly, as = Dupre' indicates. The answer is very simple: the assistant was supposed = to do it. In his recording of the piece, Dupre' changed his mind and = didn't do the diminuendo at all; Dupre' keeps the registration loud to the = very end. One has to know what those organs were like, and make changes to fit the = organ at hand based on that knowledge. Having an ideal sound in one's = imagination, and then trying to make what you play sound like the music in = your mind, works well in almost every situation. Stephen Roberts Western CT State University, Danbury, CT USA  
(back) Subject: OOPS! A correction about St-Sulpice From: "Stephen Roberts" <sroberts01@snet.net> Date: Tue, 26 Oct 2004 18:38:35 -0700 (PDT)   Dear List, Senility is setting in. I just checked the St-Sulpice website--you can = easily find it with a search engine--and I realized that I called the = combinations the wrong thing. The <Pedales de combinaisons> are the = ventils, couplers, and the like. I checked this, because I had remembered = that the combinations were worked by stop knobs. My memory was correct on = that point. These are called <boutons de combinaisons> ("combination = knobs"). I believe that on the stop knobs the indication is <Jeux de = combinaisons> and are referred to as the "appels". By the way, I also = failed to mention that Daniel Roth has made up charts of the organ for the = registrants. I was looking up the specification of the organ, and I just = ran across one of the charts used for my recital there. Each registration = is given a letter name (A, B, C, D, etc). When the registration A is set = and the appel is pulled, setting the combination in the memory, Daniel or = the person directing the registrations says "Faire B" ("Do B") and the registrants prepare the second registration. I hope = that explains the system. Believe me: Daniel has got it worked out to a = fine science. Playing a recital there is the thrill of a lifetime. Stephen Roberts Western Connecticut State University, Danbury, CT USA  
(back) Subject: Re: this week's mp3 From: "Cole" <rcolev@woh.rr.com> Date: Tue, 26 Oct 2004 21:52:18 -0400   Where does one find Celebration Fanfare? The mp3 was a scintillating sonic =   spectacular!   Ross Coulson "Cole" Votaw -- Springfield, Ohio, USA     Jonathan wrote: >This week's mp3 is Steve Best's Celebration Fanfare: > >http://www.blackiris.com/orwig/Celefan.mp3 > >Enjoy.... > >Jonathan    
(back) Subject: Monmouth University's Aeolian Organ From: <Innkawgneeto@cs.com> Date: Tue, 26 Oct 2004 22:50:18 EDT   This evening (Oct. 26) was a special day at Monmouth University, where I teach (and serve as an administrator).   The Organ Historical Society cited our 1924 Aeolian "residence" organ as a =   historic instrument. (In fact, Wilson Hall, in which the organ is housed, = is also a national historic landmark. The movie "Annie" was filmed in Wilson =   Hall). The 70-some odd-rank organ is the ONLY remaining stereophonic surround-sound Aeolian in the world.   With this citation by OHS, the University has officially launched a $2 million-campaign to restore the organ. One of its unique features is the = concertola (it is a player-organ, as it were).   The other unique feature about the organ is that it is built for a 3-story =   atrium, rather than the usual upholstered living room.   In attendance tonight was the organist who performed this organ's final concert back in the 1950s. Felix Moser was such a delight to meet (he has =   connections to my present church position).   Needless to say, after having seen the console FINALLY opened up, I am salivating at the possibility of performing on this magnificient = instrument in a few years.   Peace, Neil Brown  
(back) Subject: EMCATOS - Pipe Organ Pops / Silents in the House Announcement From: "Len Beyersdorfer, MARATHON Digital Publishing" <LenB@MDigital.com> Date: Tue, 26 Oct 2004 22:54:40 -0400     This is an EMCATOS - Pipe Organ Pops / Silents in the House announcement.   We would also like to direct you to our Web site at = http://www.EMCATOS.com, especially the Events tab, where you will find details not only about our events, but pointers to listings of events sponsored by our friends in the =   American Guild of Organists (AGO), the Methuen Memorial Music Hall Recital =   Series and the Portland Maine Kotzschmar Memorial Organ Series, and = others.   In summary (details are below):   1. Female Barbershop with Wurlitzer: Women of Note + Dave Wickerham =3D MAGIC - 11/20 & 11/21/04   2. Advance Sale Ticket Ordering for the above   3. 2005 Coming Attractions   4. EMCATOS Member Events (All welcome)   5. PPAC - Fall Wonders of the Wurlitzer Series - Free - All = Welcome     ***************************************************************************= ************************   1. WOMEN OF NOTE + DAVE WICKERHAM (WON/DW)   EMCATOS / Pipe Organ Pops is proud to present the magical combination of = the entertaining Women of Note and the spectacular Dave Wickerham at the = Mighty Wurlitzer Theatre Pipe Organ at two November events.   > WON/DW Saturday, November 20, 2004, 7:30 PM Knight Auditorium, Babson College, Wellesley, MA Tickets: Advance sale: $10.00 (Please see below for ordering information.) At the door: General Admission: $14.00 Seniors & Students: $12.00 Children 16 and under: Free with adult   > WON/DW Sunday, November 21, 2004, 2:30 PM Shanklin Music Hall, Groton, MA Tickets are available by Advance Sale Only @ $20.00. (Please see below for ordering information.)   ***************************************************************************= ************************   2. ADVANCE SALE TICKET ORDERING   Tickets for the above events are now available and may be ordered by sending a self-addressed stamped envelope, your name, address and phone number, a list of the tickets you wish to order *, and your check made = payable to "Pipe Organ Pops" to:   Pipe Organ Pops 8 Skyline Drive Billerica, MA 01821-1117   * WON/DW at Babson College, 11/20/04 @ $10.00 * WON/DW at the Shanklin Music Hall, 11/21/04 @ $20.00   If you have any questions, please email Tickets@EMCATOS.com or call 978-670-1269. Ticket orders that arrive late or do not include a self-addressed stamped envelope will be held at the door.   Note: If you suspect that a concert may be cancelled or rescheduled due to the weather, please call 781-272-5148 for information.   ***************************************************************************= ************************   3. 2005 COMING ATTRACTIONS   Clark Wilson, theatre organist, at Babson, Sat., 2/26/05, 7:30 PM =   and at the Shanklin Music Hall, Sun., 2/27/05, 2:30 PM   Phil Kelsall, theatre organist, at Babson, Sat., 4/30/05, 7:30 PM =   and at the Shanklin Music Hall, Sun., 5/1/05, 2:30 PM   ***************************************************************************= ************************   4. EMCATOS MEMBER EVENTS   You are all cordially invited to attend the EMCATOS monthly "social" on Sunday, November 7 at 2:00 PM in Knight Auditorium, Babson College. Alan Goodnow will be the guest artist. This is a free and informal event!   ***************************************************************************= ************************ 5. PPAC - WONDERS OF THE WURLITZER   The 5/21 Wurlitzer at the Providence Performing Arts Center (PPAC) lives!   As part of PPAC's Community Outreach Initiative, PPAC presents a series of =   free organ concerts by local organists during the spring and fall of each year to spotlight the theatre's unique 1927 5/21 Wurlitzer Theatre Pipe Organ. All Wurlitzer concerts are from noon to 1pm and are FREE to the public. Brown Bag lunches are encouraged and beverages = are provided at no charge.   The remaining Fall 2004 PPAC lineup is:   > Wednesday, November 10 - Bob Legon (EMCATOS member) with Silent Movie   For directions and other PPAC information refer to www.ppacri.org.   ***************************************************************************= ************************   Thank you.     -------------------------------------------------- Len Beyersdorfer LenB@MDigital.com MARATHON Digital Publishing Marlboro, Massachusetts 508-460-6172 --------------------------------------------------
(back) Subject: Re: CD's in worship a.k.a FOILED AGAIN From: <RMB10@aol.com> Date: Tue, 26 Oct 2004 23:09:56 EDT   Regarding Chuck Peery's post quoted below: >Today I was further duped because the family told the Pastor they >agreed wholeheartedly with our philosophy. In two hours I got a note >from the church secretary with the soloist's phone number. Of course, >when I called the soloist and cheerfully announced that I understood he >was singing the funeral and I would accompany him, I got >stone-cold-silence. Then "You're going to what?" You guessed it >again! He has no intention of not doing what he "always does", which >is haul in a karaoke machine. "I have done this at your church and in >that very Sanctuary before." I said that was completely possible, but >since I was new, the operating policy might have changed somewhat. >Whereupon he simply accused me of being inflexible and selfish. I >refrained from pointing out that in insisting on doing what he "always >does" , he started it. <grin> I simply said "OK, from what I'm >hearing, you have everything you need already?" At times, it seems >like all I can do is pray for a judiciously timed power outage.   We had a funeral at my church last week in which the family called a = family friend who was not from our church to sing for the funeral. We (the music = staff) were told that the soloist would get in touch with us. We never = heard a peep. By the day of the funeral, we had decided that since we had not = been given the soloist's phone number, and no one in the church office had it, = or knew who she was, other than her name, that it was out of our hands, and = that if the soloist wasn't responsible enough to make a phone call to set up a =   practice time, then she would have to find out when she arrived that our church's policy is "no tracks--no way, no how." The soloist hadn't = arrived by the time we started warming up the choir, so we made her sing a cappella. If = she wasn't responsible enough to show up in enough time to at least come do a =   run through of her two solos before the choir got there and I had to = start my prelude 30 minutes before the service started, we had the blessing of the =   pastors to let her do her thing by herself! We generally are lucky that families ask soloists from the pool of choir soloists, so it's no big deal--they know the rules and we know what they = do. But when families start asking neighbors and friends and cousins, etc. to = sing, it just opens up a Pandora's box of problems for the musician at the home =   church. The church's rules and regulations regarding music need to be explained from the get go. Because of an episode at a funeral we had a = couple of months ago, we are expanding our rules and regulations about music, to = even include who may play the instruments, to avoid embarassment to families by = selecting musicians who are not capable of adequately playing the organ or = piano. We had problems when we had a funeral a couple of months ago for the = mother in law of one of our Deacons. She was member of one of the Lutheran churches in town (just down the street from my church.) Her church is = very small and was not going to hold all the people expected, so they asked if they = could hold the service at our church. We said that they could do it. Their organist called me to ask if she could use the pipe organ, and I said yes, = and explained to her that it was a 4 manual pipe organ and told her where the = key was, etc. She told me that she would only need to use 2 manuals, because they only have a 2 manual organ, and she didn't know what the other two manuals = would do. (Red flag went up!) I was on my way to the church to rehearse with the soloist, because she didn't want the guest organist to play for her--she had heard about this = woman before. (Red flag number two!) On the way, my cell phone rang, and it was = the Lutheran pastor, asking how to lift the roll top of the organ, because his = organist couldn't figure out how to lift the roll top, which is kept = unlocked. (The organ has a key switch for the power, so I leave the roll top = unlocked) By the time I got to the church, she had gotten the roll top open and decided that it was best that she play the Hammond, because the pipe = organ was way out of her league. This woman also had a hard time starting the Hammond, =   and the sounds that eminanted from the Hammond were the most hideous = noises known to humankind. Yes, there are times when a trained musician comes in and it's great to = turn the reigns over, but when a rank amateur comes in and screws up a wedding = or a funeral service because of their incompetence, it's not a good thing. Their heart may be in the right place, but there is a level of = professionalism and reverence that needs to be kept in a church service. At the funeral service that I was just describing, since I was accompanying the soloist, = I sat in the service the whole time, so I got to hear all the music. The congregation couldn't sing with the organist's playing. The tempo was = erratic, notes were wrong, the swell pedal would pump in the middle of a phrase for no = reason. The congregation didn't even sing on "Great is Thy Faithfulness." When = a bunch of Protestants don't sing that hymn, something is grossly wrong! Meanwhile, when the soloist I accompanied sang, the congregation was up = on their feet shouting! LOL Well, I've rambled and have gotten off topic...churches and musicians have = to stand their ground. If a church does not allow CD's, they can't let it = go with one family, because then someone will hear it and they'll start = asking, "well, I heard it at Mrs. Jones' funeral." The Pastor and the musician = need to be in one accord, and I don't mean a Honda. If the Pastor (or church board) doesn't support the musician, you might as well forget the policy = ever being enforced. I'm lucky that I have a pastor who supports the music department more than any other department in the church, and he happens to = hate anything technological in the church, so as far as he's concerned he'd be = happy without a sound system at all! Monty Bennett  
(back) Subject: Re: CD's in worship a.k.a FOILED AGAIN From: "Tim Bovard" <tmbovard@earthlink.net> Date: Tue, 26 Oct 2004 22:42:27 -0500   Methinks a handy 'accomplice' might be useful stationed near the church's circuit-breaker panel.   Wait til just *after* the service starts, and have him kill the circuit that the karaoke thing is plugged into. Maybe flip it on and off a few quick times first (this may potetially add the effect of several loud popping noises to the festivities, but at the least will confuse the machine mightily before it goes totally dead)   "Oh no, (you say afterwards, as innocently as possible) I'm so sorry -- we've been having some problems with that darn electric outlet. I guess I'll have to call the electrician on Monday...!"   Just make sure to check beforehand for what other things are connected to the chancel elecrical outlets...<g>...and make sure you "just happen to have" an extra few minutes of solo something or other prepared and waiting =   on the music rack...<lol>   --Tim   At 07:12 PM 10/26/2004, Victoria wrote: >In reference to your comment: >At times, it seems >like all I can do is pray for a judiciously timed power outage. >~~~~~~~~~~~~~~~ > >Well, Chuck, I guess you will just have to get creative. <EG>    
(back) Subject: Re: leon boellmann From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Tue, 26 Oct 2004 20:49:44 -0700 (PDT)   Hello,   Well, that was absolutely fascinating.I think we've all learned something we would otherwise not have known. The reference to the Piece Heroique is also fascinating, for coming to think of it, there are similarities between it (P H) and the Boellmann Toccata.   One thing, however, puzzles me greatly.   What on earth does paradigmatic mean?   It's the sort of word which looks as if it should either have its own web-site, or at least an enthusiastic body of followers!   As for 30-odd pianos in the same room, I thought that was a Disney film or something.   Regards,   Colin Mitchell UK         --- Randolph Runyon <runyonr@muohio.edu> wrote: Toccata > in C minor, a very popular a paradigmatic piece   There is this > interesting tidbit about the Ecole Neidermeyer: The > students banged away on > some thirty-odd ill-tuned pianos all in the same > room, presumably on > different music all at the same time.       __________________________________ Do you Yahoo!? Yahoo! Mail Address AutoComplete - You start. We finish. http://promotions.yahoo.com/new_mail  
(back) Subject: Paradigmatic........ From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Tue, 26 Oct 2004 21:02:41 -0700 (PDT)   Hello,   I checked the word paradigmatic out, and it seems that it is used to describe the EU.   One little snippet caught my attention:-   "Importantly, as Armstrong especially has shown, the processes of 'institutionalisation', of the establishment of routineised responses and the development of guiding 'norms of appropriateness' may take place within distinct organisational settings, leading to potential dissonance....."   So there we have it!   Boellmann was responsible for dissonance....shame on him!   Regards,   Colin Mitchell UK         _______________________________ Do you Yahoo!? Express yourself with Y! Messenger! Free. Download now. http://messenger.yahoo.com