PipeChat Digest #5183 - Sunday, February 27, 2005
 
Re: Catholic vs non-catholic Ave Marias??
  by "Noel Stoutenburg" <mjolnir@ticnet.com>
Defending and  Defining our Easter Sunrise Service
  by "Paul Kealy" <imkealy@yahoo.com>
Re: Wicks in Columbus
  by "Roy Kersey" <rkersey@tds.net>
 

(back) Subject: Re: Catholic vs non-catholic Ave Marias?? From: "Noel Stoutenburg" <mjolnir@ticnet.com> Date: Sun, 27 Feb 2005 00:36:00 -0600   Glenda wrote:   >Ad, I defer to the others on the list, but also remember in the dim >recesses of my memory a priest once telling me that the Schubert was >frowned upon. > leading me to observe that it is altogether possible that this was a local issue, and that which settings of certain text were preferred differed by diocese, by parish, and even by priest.   ns  
(back) Subject: Defending and Defining our Easter Sunrise Service From: "Paul Kealy" <imkealy@yahoo.com> Date: Sat, 26 Feb 2005 23:16:07 -0800 (PST)   I must come to the defense of the Easter Sunrise Service.   I am an American. Worse, from Southern California. Background in theatrical productions, I realize, but also I realize people love to celebrate. Most of my in-laws are Britishers, and they give up on me, I fear. However, one reason Lady Diana was so loved by us on our side of the ocean was the royal wedding. There is something about Pomp and Circumstance. We love your pageantry. The investiture of the Prince, the queen on her horse inspecting and all that sort.   In my most recent published article on the subject (Abingdon Press: Church Music Workshop, Vol 14, No. 3 December, 2004 entitled _Celebration Calls Us to Participation_) I include a half dozen litanies for everything from dedicating a Minister of Music, paraments and handbells, to Beating the Bounds ceremony to help worshippers structure celebrative moments.   I have produced a dozen or so outdoor Sunrise services (early morning, as the term implies) deriving its origin from the moments the Women arrived at the sepulcher the first Easter.   Unless you have an organ in the outdoor amphitheatre such as the Spreckles in San Diego or the Hollywood Hills cemetery installation (I do plan to install one some day), it is not intended as an organ event, although I have included a Baldwin in my combined Easter all-city church outdoor choir and orchestra (I don=92t like to conduct Handel Hallelujah without organ, although I realize it does not sound like the interior of a cathedral).   Again, this is a celebrative event. I write and teach seminars at Sunday School conventions next week in Southern California, the following week in Central California and in April at a convention in Los Angeles based on my book and course on special production ministry (to those who do not like the celebration outside of a 52-times-a-year-worship, I guess I infect a lot of people).   In addition, I love to attend other forms of worship celebration.   The week prior to Easter, our Lutheran and Congregational churches dim the lights, extinguish the candles, cover the paraments with black cloths, and with a cacophonous, shuddering smack, slam the book shut, turn off the organ and leave the sanctuary in silence, to return Easter morning to begin the service in silence, sans organ prelude, then remove the black cloths, light the candles, and begin true celebration of resurrection. We do celebrate the whole week of Easter here.   Thousands attend my all-church =93production=94 Easter Sunrise service featuring a 60-voice choir loft constructed in the shape of a cross, surrounded by the orchestra and a tomb with a stone door which later in the service, on cue at the sound of tympani and the falling of the attendant Roman soldiers, rolls open, and my fog machine whooshes a cloud out into the audience, followed by a trained dove flying from the open sepulcher, joined by three dozen doves I have stationed among the audience who, when released, are trained to swoop in circles around the audience, then wing their way heavenward.   The entire service begins with a lone trumpeter on the crest of the hill behind the audience playing the first line of Christ the Lord is Risen Today, Alleluia, followed by another trumpeter halfway down the hillside, repeating it, then one at the back of the amphitheatre ... Then I conduct the entire brass section on stage playing the whole verse, I go to the front of the stage and motion for audience to stand and sing the hymn in its entirety.   Other music includes _Low In the Grave He Lay_, _O Sacred Head Now Wounded_, _Were You There_,_ O Sacred Head Now Wounded_ , _Because He Lives_, _Lord, I Lift Your Name on High_, and others, and we close with entire congregation singing Handelian Hallelujah.   Although it is not a long service, I do have a triumphal entry, complete with folks waving palm branches in a live Jesus-Donkey procession with Palm Sunday music. Out of space to tell more, but we do give our people permission to celebrate.   And yes, we do rise early to pull it off.   But we are not the only one in the area. Riverside California has one at top of a hill that requires a 15-minute minute walk to even get to (try THAT at 5 AM), and Hollywood Bowl=92s concert is world renown. I have worked with them in past.   People still make it to church in time to hear the cathedral tones of the King of Instruments in a more traditional worship.   +++++++++++++++++++++++++ Paul E. Kealy www.BRASSweb.org www.MediaExcellence.com +++++++++++++++++++++++++    
(back) Subject: Re: Wicks in Columbus From: "Roy Kersey" <rkersey@tds.net> Date: Sun, 27 Feb 2005 3:38:09 -0500   Hello Scot and All, Regarding Wicks vs Fritts in Columbus, the organs probably do have = two different styles. Not having heard the Wicks, I can't render an = opinion about whether it is a great organ or not. However, I doubt that = the Fritts is going to be a "screechophone." Two years ago I attended an = OHS conference in Princeton and heard both the Fritts in the Chapel there = and a Richards and Fowkes at Christ Church (I think) in New Brunswick. On = the Fritts, Marilyn Kaiser played the St. Anne P & F, and on the R&F, Lynn = Edwards played the Passacaglia and Fugue. Both performers opted for a = pleno registration for much of these pieces, I think with a 16 foot = foundation. My reaction was that the sounds were a bit heavy, but neither = organ sounded sceechy to me. Maybe the Fritts was a bit too loud --- I = can never be sure, as I wear hearing aides --- but I certainly wouldn't = call it screechy. Scott, I think you paint with a bit too broad a brush when you say = that trackers don't work in liturgical spaces. Tracker action and = expression are not at odds, and the Manders at Peachtree Road in Atlanta = and at St. Ignatius in NYC both have more than one expressive division. = I'm sure that there are others. There are also other forms of expression = besides a swell pedal, as you must know. I also think it might be a bit impetuous to call Fritts organs = screechophones when they seem to debut to rather glowing reviews from = almost everyone. I think the days of baroque screechies were long over = years ago, probably before you were born. I think we all recognize that = early attempts to recreate the Baroque organ, especially in America, did = create some unfortunate instruments, but there has been a lot of = scholarship and experimentation, at least two generations of it, since = then. You have to remember that John Brombaugh, who taught Paul Fritts, = was one of those who first reassessed the Baroque revival. I have heard = and played the Brombaugh in Collegedale, Tennessee, a fairly early = Brombaugh, and I would definitely not call it screechy, but instead one of = the most magnificent organs I've ever heard. Could you tell us specifically which Fritts organs you've heard and = played that you would characterize as "screechophones?" Best Regards, Roy Kersey Organ Enthusiast and Amateur Trumpeter