PipeChat Digest #5465 - Wednesday, July 20, 2005 Back from OHS by "Judy A. Ollikkala" <email@example.com> OHS by "Brad Richards" <firstname.lastname@example.org> Re: OHS by <ProOrgo53@aol.com> Re: OHS by "Stephen Best" <email@example.com> Re: OHS by "Jon C." <firstname.lastname@example.org> Re: OHS by "William Morton" <email@example.com> Re: OHS Suffocating Heat by <TubaMagna@aol.com> RE: OHS Suffocating Heat by "Glenda" <firstname.lastname@example.org> Re: OHS by "Harry Martenas" <email@example.com> OHS and oxygen by "Randolph Runyon" <firstname.lastname@example.org> Re: OHS (long) by "John Speller" <email@example.com> Re: OHS by "Mac Hayes" <firstname.lastname@example.org> OHS plea for "reviews" by <TubaMagna@aol.com> Re: OHS by "Paul Smith" <email@example.com>
(back) Subject: Back from OHS From: "Judy A. Ollikkala" <firstname.lastname@example.org> Date: Wed, 20 Jul 2005 08:53:14 -0400 Hi all, I'm back on after 6 months, some of which I was without my = computer in FL. Just returned yesterday to Worcester MA from the OHS Convention in Southeastern Massachusetts, which was outstanding, music, organs, organ demonstrators, weather (altho it got pretty warm the last half), thank goodness for AC busses and hotels. At least there was a breeze in foggy and hazy New Bedford, and no rain all week. It is hard to state favorites at the moment, maybe later when I get them sorted out. There were so many good organists and organs. But the tops = for me was Tim Smith and the 1912 Casavant in the huge St. Anthony de Padua RC in New Bedford, I had wanted to hear that organ for a long time and = finally did, was even more impressive than I had hoped for. I was so moved I couldn't even sing. I met several PipeChat people, Seb, Pat Maimone, Tommy-Lee, Tim Bovard, Spellers, Karl Moyer, and many longtime OHS people I hadn't seen for awhile. The comeraderie was a great part of the week. Kudoes to Dick Hill, and Matthew and Lisa Compton Bellochio, they put on quite a show as very hardworking Co-Chairs. The convention book was also outstanding, with every organ stop explained as to origin, history, dimensions, materials used, etc. as well as photos and other vital information. Judy Ollikkala
(back) Subject: OHS From: "Brad Richards" <email@example.com> Date: Wed, 20 Jul 2005 19:42:29 +0000 Hey everyone, just recently got back from the OHS. The conference was = good. Food was great (I think I gained some weight). Not too many recitals, just enough. Some absolutely beautiful churches, though the one with 5500 = lights looked better before they turned the lights on in my opinion. Just = a little to much Vegas with all those bulbs. I am being very general in my comments since I don't have the handbook in front of me with my notes. = One complaint... for some odd reason the hotel bar would close at midnight = every night and they would chase out as many as 30 people.... meaning a lot of conversations were cut short. One other complaint..... have the = conference in an area where ALL the churches have air conditioning please..... some were 85 degrees, not only did we suffer, but lots of last minute tuning = had to be done to make them even playable. My favorite moment of the conference.... this will show my age... was the Pipe Organ rap. Never knew that genre existed til now. maybe that is the = way to make pipe organ music popular for the masses now. On another note. Anyone who is wondering how Rubin is doing after his = fall on Thursday. He is fine, still sore and having trouble getting out of chairs. The stitches in his lip have dissolved and the external stitches were removed today. His eye is still somewhat black but doing much = better. He is just glad to be home to rest a day or two before getting back to = work on three projects we are now working on. For those that have no clue what = I am talking about. Rubin Frels my boss fell in the hotel lobby and ended = up biting through his lip when he hit the floor, requiring a trip to the emergency room, he was more embarassed than hurt, and was happy to get = back on the tour while missing only two recitals. Thanks again to Bill Van = Pelt for his help at the hospital and to everyone who asked me at least 600 = times if Rubin was OK. Brad R. Richards for I am possesed of 5 cats who really missed me and won't leave me alone while typing this, so typos are the fault of them.
(back) Subject: Re: OHS From: <ProOrgo53@aol.com> Date: Wed, 20 Jul 2005 16:24:23 EDT In a message dated 7/20/2005 2:43:38 P.M. Central Standard Time, firstname.lastname@example.org writes: My favorite moment of the conference.... this will show my age... was the = Pipe Organ rap. Never knew that genre existed til now. maybe that is = the way to make pipe organ music popular for the masses now. So sorry about Rubin's fall and injuries. Glad he is on the mend, now! For those of us (thousands) who could not attend OHS, please tell us what = Pipe Organ rap is. Eager to hear - and learn. Blessings, Dale G. Rider , MSacredMus, CAGO Organist, Composer, Music Engraver (Finale) Independence, MO, USA
(back) Subject: Re: OHS From: "Stephen Best" <email@example.com> Date: Wed, 20 Jul 2005 18:01:03 -0400 Where do you live? In Upstate NY, I can count on the fingers of one hand the churches that are air conditioned. If I consider only churches that have historic organs, I don't even need one hand! Steve Best in Utica, NY Brad Richards wrote: > One other complaint..... have the conference in an area where ALL the > churches have air conditioning please..... some were 85 degrees, not > only did we suffer, but lots of last minute tuning had to be done to > make them even playable.
(back) Subject: Re: OHS From: "Jon C." <firstname.lastname@example.org> Date: Wed, 20 Jul 2005 17:28:31 -0500 At 05:01 PM 7/20/2005, you wrote: >Brad Richards wrote: > >One other complaint..... have the conference in an area where ALL >the churches have air conditioning please If creature comfort is a priority for you...don't go to an OHS convention. Historic organs usually don't reside in affluent churches that have air conditioning. No air conditioning and hard seats are the norm, and I love em, you get to see some terrific instruments which cannot be duplicated today. Jon
(back) Subject: Re: OHS From: "William Morton" <email@example.com> Date: Wed, 20 Jul 2005 15:46:52 -0700 On 20, Jul 2005, , at 15:28, Jon C. wrote: > At 05:01 PM 7/20/2005, you wrote: > >> Brad Richards wrote: >> >> One other complaint..... have the conference in an area where ALL >> the churches have air conditioning please >> > > If creature comfort is a priority for you...don't go to an OHS > convention. Historic organs usually don't reside in > affluent churches that have air conditioning. No air conditioning > and hard seats are the norm, and I love em, you > get to see some terrific instruments which cannot be duplicated today. > I have practice privileges on a 4M 37Rk Austin located in a local high school auditorium. While the building office spaces are air conditioned in the summer, the 1000-seat auditorium is not, to save $. I practice there once or twice a week for about 90 minutes, and usually emerge dripping in sweat. However, I can't argue that they should turn on the A/C just for the occasional organist. In fact, there was a maintenance guy there today when I came in and he said "I'll turn on the A/C if you like" and I discouraged him from doing so. Schools (and many churches) run on a budget that is spare to begin with and I dislike pushing that limited envelope. --- [Certified Virus free by ASISNA Mail Services. www.asisna.com ]
(back) Subject: Re: OHS Suffocating Heat From: <TubaMagna@aol.com> Date: Wed, 20 Jul 2005 18:52:49 EDT It is not a question of "creature comforts." I am waiting for the first deaths at OHS conventions. It is not an "if," but a "when." One church we were in bore such a stench of mold that I was afraid to = go in, fearful of coming down with a lethal pulmonary infection. The room was = literally dangerous. People sit in the brutal, grueling, crippling heat with blank stares = on their faces, or on buses in which the driver doesn't turn on the air conditioning, and do absolutely nothing. They stare at each other, roll = their eyes, and they may scare up the energy to complain to EACH OTHER, but nobody wants = to make waves, and would rather suffer in silence. The refusal to open windows just staggers me. If churches want people = to attend, they should invest in a razor blade and cut through the paint and unseal these tombs so people might want to attend services. How difficult can that be? The complaints are justified, but on the other hand, the American syndrome of complete inaction and acceptance of "what is" was greatly in = evidence. Sebastian M. Gluck Who asked the bus driver to turn on the air each and every time he got on = the bus, and went through every church looking for a window to open
(back) Subject: RE: OHS Suffocating Heat From: "Glenda" <firstname.lastname@example.org> Date: Wed, 20 Jul 2005 19:26:38 -0500 Move those historic organs down to Florida and we'll all listen to them in AC comfort, at least when no visiting hurricane cuts all the power off. I used to laugh at Northerners complaining about the heat, but it seems every time I go up that way, I bring a heat wave with me. On my first day in the big city of NYC it was hotter than back home. And I remember sitting in a huge un-air-conditioned 'chapel' in Pennsylvania, dripping wet, listening to Stefan Engels and orchestra one night. One had to escape outside during intermission just to hunt for fresh oxygen. Michael Barone's pony-tail was pretty limp that night. Glenda Sutton email@example.com (who was drafting a guardianship inventory after court today during a horrendous thunderstorm, and can now boast a client from Oregon, working my way around the states)
(back) Subject: Re: OHS From: "Harry Martenas" <firstname.lastname@example.org> Date: Wed, 20 Jul 2005 20:41:54 -0400 On 7/20/05, Brad Richards <email@example.com> wrote: > One other complaint..... have the conference > in an area where ALL the churches have air conditioning please..... some > were 85 degrees, not only did we suffer, but lots of last minute tuning h= ad > to be done to make them even playable. To Brad and Sebastian - Yes, the churches were hot. Yes, there were a few where the mold/mildew in the air would send anyone with asthma or any other breathing condition into a tailspin - But this is where the historic organs *ARE*. These are the churches that did not have the money to upgrade the organ to the newest trends of the day, be they EP, DE, symphonic, octopod, neo-baroque, etc. They cannot afford to cool the sanctuary in the summer, and probably do not heat it in the winter to 72 degrees F. If the OHS decided not to visit these instruments - well, conventions would not be the same. Thomas Murray's recital on the Jardine/Clark & Fenton/Welte-Whalon/Roche instrument at St. Thomas Episcopal was sweltering - but if he thought is what worth hearing - who am I to complain? Perhaps some indication should be given to the convention attendees that a given church might have heat and/or fresh air issues. But what a loss it would be to decide arbitrarily to not visit any church that did not have cooled or filtered air. You want AC and clean air? You will not see the best organs. Regards, Harry Martenas
(back) Subject: OHS and oxygen From: "Randolph Runyon" <firstname.lastname@example.org> Date: Wed, 20 Jul 2005 20:59:56 -0400 I think a good point Sebastian Gluck was making was that churches should open the windows if they don't have air conditioning. In the nineteenth century, when there was no AC, windows were surely open. The problem is that people today are too used to AC to even think of opening windows in its absence. In a closed-up building naturally mold and mildew will build up to dangerous levels if windows are left closed. People in earlier centuries were wiser than we are about this sort of thing. Coincidentally, last night our church's worship and music committee met in the tiny church library because Vacation Bible School had taken over our normal meeting place (remember when VBS used to meet during the daytime hours? Apparently that's no longer the case). It was about about 90 degrees outside, which was the reason the chair of the committee resisted, at first, my effort to open the window. But when I at last opened it, nice 90-degree air came in and everyone remarked on how much easier was to breathe that the oxygen-depleted air we had with our breathing created in that tiny library. Well, duh. Randy Runyon Zion Lutheran Church Hamilton, Ohio
(back) Subject: Re: OHS (long) From: "John Speller" <email@example.com> Date: Wed, 20 Jul 2005 18:00:38 -0700 (PDT) --- PipeChat Administration <firstname.lastname@example.org> wrote: > So > PLEASE, PLEASE, PLEASE send the list some reviews, > reports, comments, > whatever - many of us are waiting with "bated > breath" to hear about > the convention. Dear Listsibs, I was only at the OHS Convention from Thursday to Saturday, but will be happy to give you my impressions of the three days I was there. Thursday, July 14 began with a visit to Christ Episcopal Church in Swansea, Mass., a lovely Henry Vaughan church with a fine old Hutchings organ. We were treated to a recital by Robert Barney, a frequent player at OHS Conventions, which included works by C.P.E. Bach, S.S. Wesley and Th=E9odore Dubois. From there we went to First Congregational Church in Swansea, home of E. & G.G. Hook Op. 460 of 1868, a lovely little one manual instrument. July 14 is Bastille Day, and in honor of this Thomas Guthrie made this the emphasis of his recital. We began by singing the Marseillaise, and part of the remainder of the program was devoted to works based upon it. Continuing the French theme, several decades after he had helped the Americans in the Revolutionary War, the French General Lafayette again visited the United States in 1824, and on the occasion of his visit to Providence, Rhode Island, Oliver Shaw wrote "Welcome the Nation's Guest: A Military Divertimento, Composed & Respectfully Dedicated to General Lafayette on his visit to Providence." Thomas Guthrie concluded his recital with this piece, and all told this program was enormous fun. Next we went on to St. Joseph's Roman Catholic Church in Fall River, where there is the largest surviving organ by the Providence firm of W.K. Adams & Son, built in 1883. This was repaired with tonal changes by Bob Roche in 1966. The instrument had suffered severe damage from church painters in the 1980's and was only made playable for this occasion by the valiant efforts of OHS volunteers. Kimberly Ann Hess gave a very fine performance of Romantic music by Batiste, Mulet, Jongen and Guilmant. After lunch Kevin Kissinger gave a recital on the 1863 Erben / 1889 W.K. Adams / 1954 Welte-Whalon organ in Good Shepherd Roman Catholic Church in Fall River. The recital consisted of John Knowles Paine's Concert Variations on Old One Hundred, and the premier performance of Kevin Kissinger's own work, Celeste. The latter proved to be a very alluring work and I heard numerous favorable comments about it. We then went to St. Luke's Episcopal Church in Fall River, to hear Mark Steinbach play the 1908 Moller tracker, Op. 864. The very eclectic recital included works from eighteenth-century Italy, early nineteenth-century America -- local composer Oliver Shaw once more -- and a couple of twentieth-century works by Alain and Clokey. For me the high point of the day was Lorenz Maycher's recital on the 1911 Ernest M. Skinner Co. organ, Op. 191, at First Congregational Church in Fall River. The recital included works by Widor, Bach, Lemmens, Charles Joseph Frost, Richard Purvis, Karg-Elert, Leo Sowerby and Vierne. Some people tend to think of early Skinner organs as dull, and though this may be true of certain instruments built in the 1915-1925 era, it is certainly far from being the case with Skinner's earliest instruments. Op. 190 here in Missouri, and Op. 191 in Fall River are both brilliant and exciting instruments. Furthermore, No. 191 has an Orchestral Oboe to die for! We had dinner in the Abbey Grille (originally Central Congregational Church), where there is actually a pipe organ in the restaurant -- an 1875 / 1916 three manual Hook & Hastings, although this was unfortunately not in playable condition. Nonetheless, we had a pleasant meal in the presence of the instrument, though many complained that the service was extremely slow. After dinner the choral group, Sine Nomine, directed by Glenn Giuttari, with organist Andrew Galuska,and soprano Heidi Dion, gave a choral concert in St. Anne's Roman Catholic Church, Fall River. The organ is a large Larry Phelps Casavant. I was sorry that I had had my hair cut before coming to the Convention. The soprano soloist was extremely good. This brings us to Friday, July 15. The day began at First Congregational Church, Middleboro, Mass., with a recital given by SharonRose Pfeiffer on the 1887 Hamill / 1962 Roche organ. The very interesting program comprised music by Samuel Adler and Samuel Coleridge Taylor. We then went to Central Congregational Church in Middleboro, where David Chalmers played the 1925 Hook & Hastings / 1974-1983-1993 Potter-Rathbun organ. From there we went to a much earlier Hook, the delightful little one manual E. & G.G. Hook Op. 387 of 1866 at First Congregational Church, Rochester, Mass. Peter Crisafulli played an equally delightful program on the instrument, comprising music by William Selby, Charles Zeuner, James Woodman and a suite by Philip Moore named "Three Pieces for Withycombe". (I was probably the only person there who has ever been to Withycombe, a village on Exmoor in the West of England that has a tiny three manual Nelson organ, for which these pieces were presumably written.) We also sang the hymn "Fairest Lord Jesus" to a pleasant new tune composed for the occasion by Peter Crisafulli. Judith Conrad next treated us to a very entertaining and sometimes light-hearted recital on the tiny c. 1866 (?)Giles Beach organ in the United Methodist Church, Marion. The very eclectic program included works by Carreira, Pachelbel, Samuel Wesley, Liszt, and Edwin H. Lemare. Next on the itinery was Memorial Unitarian Church in Fairhaven, a most remarkable church with a most remarkable Hutchings-Votey organ of 1904. The recital consisted of works by nineteenth- and twentieth-century American composers. The church has the most amazing stained glass by Robert Reed, a well-known New York artist for whom this was the only excursion into stained glass. The east window, somewhat in the tradition of John LaFarge and Louis Tiffany, produces the most amazing effect. It is a Nativity scene with Mary, Joseph, angels, shepherds, etc., but all the light in the church seems to be flowing from the holy infant, rather than just coming through the glass. The church is a monumental one in English cathedral style, complete even with a minstrel's gallery like Exeter. We were also treated to a lecture on the history of Fairhaven in the Fairhaven Town Hall, after which George Bozeman gave a recital on the c.1870-77 (?) Hamill / c.1886-89 Cole & Woodberry / c. 1920-30 W.W. Laws / 1977 Roche organ in First Congregational Church, Fairhaven. The recital consisted of parts of Widor's 4th. Symphony and the Vivaldi-Bach Concerto in D minor. The final recital of the day was another of the high points of the Convention for me. St. Casimir's Roman Catholic Church has a 1923 Hook & Hastings theatre organ, Op. 2461, originally built for the Olympia Theatre in Brockton. (My wife's grandmother grew up in Brockton, so we can perhaps imagine her listening to this instrument when she went to the movies.) The instrument is quite unlike a Wurlitzer theatre organ, being straight rather than extended, and having powerful orchestral flutes rather than tibias. It has lots of wonderful color reeds. The effect of the instrument is quite amazing, and it is also amazingly LOUD. Equally amazing was the recital given by Ray Cornils, Portland Municipal Organist. His program was both brilliant and at times hilariously funny, ranging from works of Vierne, Mulet, DeLamarter, Nevin, Kotschmar and Purvis to John Weaver. We sang "For All the Saints" as the hymn, and pretty much blew the roof off the church. I don't think I have ever experienced anything quite like this recital before ... This brings us to Saturday, July 16, where we started with a recital by Lois Regestein at St. John's Episcopal Church in Taunton, Mass. (The closest church to my childhood home in Taunton, England was St. John's, so it was good to see the one in America too!) St. John's Episcopal Church has a fine two manual organ by E. & G.G. Hook & Hastings, Op. 764 of 1874. Lois Regestein ably showed it off with a program of rather unusual pieces by Schaffner, Phalese, Pinkham, etc. After this we went to Berkley Congregational Church, where there is another lovely little E. & G.G. Hook one manual, dating from c. 1834-37, and housed in a gorgeous Greek Revival mahogany case. Barbara Owen gave an excellent recital of music by Charles Wesley, Bach, Brahms, Oliver Shaw, Joe Utterback and Zipoli. Earlier in the Convention, Barbara Owen was presented with a Festschrift to honor her for her fifty year association with the Organ Historical Society. The book has just been published by the OHS contains essays by a number of distinguished scholars plus the present writer. From Berkley we went to Our Lady of the Holy Rosary Roman Catholic Church in Taunton, where Philip Jones gave a recital on the 1887 Ryder / 1926 Estey / 1976 Roche tracker. This included two interesting pieces of Philip Jones's own composition based on Asian hymns. Next we went to Pilgrim Congregational Church in Taunton, home of Johnson & Son. Op. 745 of 1890. Will Headlee gave another very interesting and well-executed recital of lesser known works by such composers as Jongen, Walton, Macfarlane, Parker, McKinley and Boellmann. In past Conventions organists have often produced interesting program notes for their recitals, but there seems to be less of a tendency to do this than there used to be. In this regard Will Headlee is to be commended for having produced some very interesting program notes for the occasion. (The Convention Handbook this year, incidentally, is the best ever and has copious notes on the instruments, running into no fewer than 288 pages.) Rosalind Mohnsen, another frequent player at OHS Conventions,gave the next recital at First Parish Church (Unitarian-Universalist) in Taunton. This is the home of much rebuilt E. & G.G. Hook, Op. 348 of 1864, and noteworthy in that it was probably the first organ that E.M. Skinner, who grew up in this church, ever heard. A particularly interesting item from Ms. Mohnsen's recital was Henry Dunham's In Memoriam, Op. 17, which was written in memory of Mrs. Edward F. Searles. Edward F. Searles, of course, was the builder of the hall in Methuen that houses the Walcker from the Boston Music Hall. Joseph O'Donnell gave a recital on the organ of St. Mary's Roman Catholic Church in Taunton, a monumental building which has another Hook & Hastings organ, Op. 1674 of 1895. The instrument is again in far from top condition and had to be made playable by dedicated volunteers. James O'Donnell played a very impressive recital on it, and one hopes the congregation were impressed enough to do something about resurrecting the organ. The final recital of the day was given by Tom Murray on the famous 1899 Jardine organ in St. Thomas Episcopal Church, Taunton. This was one of the first large electric action organs in the country and was voiced by the celebrated Carlton C. Mitchell of Tewkesbury Abbey fame. It goes without saying that Tom Murray's recitals are always fabulous, and this one was no exception. He played works by Piern=E9, Vivaldi-Bach, Dupr=E9, Gigout, Bairstow and Guilmant. At the end we all joined in the Hallelujah Chorus from Handel's Messiah. It was great fun, but I must confess I was a little disappointed by the organ. The instrument was rather buried in chambers, so the Great Organ was brought out into the north aisle in the 1980's. I wish they hadn't done this. The Great is now ear-shatteringly loud, and doesn't balance with the other divisions. There is now a hideous plain zinc facade in the north aisle, as well as the rather more pleasing original facades in the chancel. Furthermore, the additions -- a number of mixtures, pedal reed unit and fanfare trumpet -- are rather rough and do not match the refinement original Jardine work. I am sorry to be rather negative about this, but I wish the changes could be reversed. Nevertheless, so far as the playing is concerned, Tom Murray's recital was the high point of the day and one of the outstanding events of the Convention. So there is my two cents worth on the three days of the Convention my wife and I were able to attend. It was good to meet new people and to renew old acquaintances. Perhaps others can share their experiences of the Convention with us. I shall be particularly interested to hear what went on on the days I wasn't there. Kind regards, John Speller.
(back) Subject: Re: OHS From: "Mac Hayes" <email@example.com> Date: Wed, 20 Jul 2005 19:09:56 -0600 Brad Richards wrote: > For those of us (thousands) who could not attend OHS, please tell us > what Pipe Organ rap is. Eager to hear - and learn. I am NOT eager to hear 'Pipe Organ rap.' Am I showing MY age? Or my level of couth and artistic eddication? The defining feature of 99% of the rap I have heard so far is: spoken words with machine-gun rapidity and mind-numbing rhythm, monotonous drum and mono-chordal background sounds - I refuse to call it "music." Mac Hayes Riverton, UT
(back) Subject: OHS plea for "reviews" From: <TubaMagna@aol.com> Date: Wed, 20 Jul 2005 21:14:38 EDT By the time my account of the OHS convention is published in The = American Organist, you will all have heard twenty other sets of opinions. I should clarify that at no time did I state that historic organs = should go unheard or unseen. Rather, I stated that when dangerous, oppressive conditions can easily be avoided by the actions of one or two thoughtful = humans, it gives one pause to wonder why such things happen year in, year out. Some of the organs we heard this year were so drastically altered as = to leave us with only the faintest impression of what they were. Others were pristine. Lack of funds DOES save organs. Churches without the money to get the newest and latest fad usually keep with the same organ, unaltered, for a = century or more. Not having the money to maintain it often means not having the = money to screw it up, and benign neglect is our friend. I still maintain that mounting a fundraising campaign to open a door = or a window is a less monumental task than the conservation of an historic = instr ument. Sebastian M. Gluck New York City ..
(back) Subject: Re: OHS From: "Paul Smith" <firstname.lastname@example.org> Date: Wed, 20 Jul 2005 20:18:49 -0500 >From the District of Columbia and Baltimore south, you will find all of = the "successful" (i.e. rich) churches to be air conditioned. But "successful" churches are too often not the home of historic and unaltered old organs. = If you want the real thing, you will have to go where it is, even to the gates of Hades in July! Out here in Southern Missouri you will find every church to be air conditioned, and you will find no organs of historic = value to listen to. Kip in = MO > Where do you live? In Upstate NY, I can count on the fingers of one = hand > the churches that are air conditioned. If I consider only churches = that > have historic organs, I don't even need one hand! > Steve Best in Utica, NY