PipeChat Digest #5420 - Thursday, June 23, 2005
Re: Short octave pedals - am I seeing things??
  by "Andy Lawrence" <lawrenceandy@gmail.com>
Short octave pedals
  by "Stephen Roberts" <sroberts01@snet.net>
OHS Catalog Supplement in mail
  by "William T. Van Pelt" <wvanpelt@erols.com>
RE: Liturgy is confusing to visitors
  by "Emily Adams" <eadams@cinci.rr.com>
harp stop literature
  by "Randolph Runyon" <runyonr@muohio.edu>
Re: harp stop literature
  by "DVR" <DVRmusician@webtv.net>
Re: harp stop literature
  by <DarrylbytheSea@aol.com>
Re: harp stop literature
  by "Stephen Best" <stevebest@usadatanet.net>
RE: harp stop literature
  by "Randy Terry" <randy@peacham.homeip.net>
And off to a more quiet place we go. . .
  by "N. Russotto" <ravenrockdesigns@gmail.com>
[LONG] Aint' misbehaving, Part 1 of 2
  by "Glenda" <gksjd85@direcway.com>
Re: harp stop literature
  by "Randolph Runyon" <runyonr@muohio.edu>
Re: harp stop literature
  by <DarrylbytheSea@aol.com>
Re: harp stop literature
  by <BlueeyedBear@aol.com>
Re: harp stop literature
  by "Randolph Runyon" <runyonr@muohio.edu>
Re: harp stop literature
  by <OrganNYC@aol.com>
J E Kondermann
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>

(back) Subject: Re: Short octave pedals - am I seeing things?? From: "Andy Lawrence" <lawrenceandy@gmail.com> Date: Wed, 22 Jun 2005 04:03:15 -0700   I have no idea, but would like to say that I have rewritten some Bach pieces to fit a one-octave (I realize this is different than "short octave") pedalboard and I am all for it, when needed. By the way, the same technique can sometimes make an otherwise "dependant" pedal independent, by staying below the lowest manual note. Obviously its not going to work on fugues where the pedal has a distinct part. Just where pedal is acting as bass, such as in the Prelude of the "little" Prelude and Fugue in C. Wouldn't do it with the Fugue, but works great with the Prelude. Andy   On 6/21/05, Colin Mitchell <cmys13085@yahoo.co.uk> wrote: > Hello, >=20 > Am I being really dumb or dumber, or did I just come > across a photograph of an old organ in the Czech > Republic with what looks like a short-octave > pedal-board? >=20 > This may explain why the 18th century Czech composer > Seger, having discovered the music of J S Bach, was > obliged to re-write the music for short-octave > instruments. >  
(back) Subject: Short octave pedals From: "Stephen Roberts" <sroberts01@snet.net> Date: Wed, 22 Jun 2005 04:19:18 -0700 (PDT)   Dear Colin and List: Short octave pedals were the norm on organs in the Austro-Hungarian empire = before the nineteenth century. The land that is now the Czech Republic, = and even part of Southern Poland were part of the dual monarchy of = Austria-Hungary, which was then the largest country in Europe, if you = don't count Russia, which is mostly in Asia anyway. The people who = inhabited these lands were and are mostly Roman Catholic. Organs there = weren't designed to play literature by non-Catholic composers like J.S. = Bach; they were designed to accompany the Roman Catholic Mass. Almost = without exception the music that was played on them was improvised and = based on chant. That meant that meantone temperaments and keys with few = sharps or flats were customary. I don't want to seem patronizing; if the following explanation is old hat = to you, please ignore it. For those of you who are unacquainted with the = short octave as it appeared on old organs of this part of Europe, the = system was this: the lowest octave of the manuals AND pedalboard appeared = to go down only to low E, but in reality it went down to low C. E played = C, F# played D, and G# played E. The natural keys played the notes that = they normally play: F played F, G played G, and A played A. A# (more = accurate, B-flat, because of the unequal temperament) was the only = chromatic note in the lowest octave. From c onward the keyboard was as = usual. In the eighteenth century "broken octave" was introduced. It generally = had divided keys on the manuals for F# and G#, so that those keys played = either D or F#, or E or G#, respectively. The pedalboard generally had little toe buttons above the pedals for the = chromatic notes. Please note that some other systems of short octave were = in use in Northern Europe and elsewhere. The use of short octave pedals was dying out in the Protestant sections of = the Netherlands and Northern and Central Germany by 1700. While it wasn't = until the later 18th. century that organs had all of the notes in the = lowest octave (low C# was almost always lacking), the pedalboards in this = part of Europe appeared to be more like what we expect today. Take a look at organ works by Froberger, Muffat, or other Catholic = composers of the period and area in question. You will never see low D#, = for example. There are also not any very active pedal passages of the = kind that you find in Buxtehude or Bach. The music of North German = composers simply couldn't be played on these instruments. The organs of = the Austro-Hungarian empire generally had lots of 8' foundation stops and = few reeds; that was perfect for accompaniment of voices or relatively = quiet improvisation during the Mass, which is mostly what they did. Now for a commercial! I'm taking my organ class from Western CT State = University on a trip to Austria this January. The students will have a = chance to see, hear, and play old organs of this period and style, and = they will have a master class on early South German and Austrian music = with Michael Radulescu, who is generally recognized as one of the great = authorities on this subject. We will also travel to Upper Austria, where = my former classmate, Gustav Auzinger, will give a class on early Italian = music at his home; Gustav has a restored Italian organ from c. 1700 in his = music room, as well as a spectacular modern instrument by Pirchner. We = also won't neglect the nineteenth century, another great period of musical = composition in Austria. Peter Planyavsky will give a class on the organ = music of Brahms, and my old friend and classmate, Martin Haselboeck will = give a class on the organ music of Liszt. These two classes will be at = the Votivkirche in Vienna, which has a four manual Walcker from the late nineteenth century that both Brahms and Liszt knew. = This is part of our four year plan of study of historic organs and organ = music. As I have mentioned before, I now take my organ class to Europe = every year, so that they'll get practical first hand experience of the = organs, and get lessons from some of the best organists there. As I said, I'm sure that much of this information is familiar to most of = you, but for the benefit of those who may not have had the opportunity to = play these instruments, I thought that this explanation might be helpful. = The organs of the Hapsburg empire are much less known to organists in the = English speaking world than are instruments from some other parts of = Europe. Stephen Roberts Western CT State University, Danbury, CT USA  
(back) Subject: OHS Catalog Supplement in mail From: "William T. Van Pelt" <wvanpelt@erols.com> Date: Wed, 22 Jun 2005 09:02:58 -0400   A 16-page Supplement to the OHS Catalog 2005 will be mailed this week to everyone who has bought something from the OHS Catalog within the past two years as well as all OHS members. I am putting new items on the OHS Catalog website and more are on the way. Please take a look, perhaps several times over the next few days: http://www.ohscatalog.org   Some new items include: Virgil Fox Command Performances CD   several new audiophile CDs in SACD and DVD-Audio   Jane Parker-Smith Playing Romantic Masterpieces   James Laster's Book listing all known music for organ and other instruments, including publishers   New CDs on Skinner and Aeolian-Skinner organs at National Presbyterian, Washington DC; Immanuel Presbyterian, Los Angeles   And lots of new sheet music  
(back) Subject: RE: Liturgy is confusing to visitors From: "Emily Adams" <eadams@cinci.rr.com> Date: Wed, 22 Jun 2005 08:06:05 -0400   >>From: "Emily Adams" <eadams@cinci.rr.com> >>Date: Mon, 20 Jun 2005 06:58:46 -0400   >>In my church, we stopped producing bulletins over a year >>ago....   >Bravo.... They are mostly used by children to draw on during >the service.   >>We are looking at this issue in my ELCA church, where we're >>concerned that the liturgy is confusing to visitors and hard >>for them to follow since they must constantly switch back >>and forth from the order of worship in the bulletin to the >>order in the front of the hymnal.   >Since some churches seem determined to use Sunday morning >worship of the Faithful for evangelizing church shoppers, why >not designate members as "guides" for visitors. They can sit >with the visitors and make sure that they have the right >book/page and are encouraged to actively participate in the >service by imitating the enthusiastic singing and responding >of their guides. Then after worship they can be escorted to >the coffee hour to continue getting acquainted (which likely >begun during the peace chat).   Apologies for all the quoting. However, I'm not the person who said we had =   stopped using bulletins. We welcome our visitors because it's the right thing to do and because we hope they will find something meaningful in our =   worship. We try to make them feel comfortable and at home because it's the =   courteous thing to do--not because we hope to get some kind of return from =   it.   We already do have people designated to sit with visitors. I'm not sure = that really addresses the problem, though--some of the visitors may simply feel =   that person is individually witnessing their confusion.   Thanks to Bill H, Richard and Randy for their thoughtful commentary. You guys covered just about anything else I could say on the subject and then some.    
(back) Subject: harp stop literature From: "Randolph Runyon" <runyonr@muohio.edu> Date: Wed, 22 Jun 2005 09:05:53 -0400   In preparing Leo Sowerby's lovely "Carillon" for this coming Sunday's prelude, and being fortunate in having a 1934 Moller with both chimes and a harp stop, just the kind of organ for which this piece was written, I am wondering if there are any other organ pieces of worth that call for a harp stop.   Randy Runyon Zion Lutheran Church Hamilton, Ohio  
(back) Subject: Re: harp stop literature From: "DVR" <DVRmusician@webtv.net> Date: Wed, 22 Jun 2005 11:19:29 -0500   Randy.....take a look at Andante in F by Wely.....harp stop works great!   "Keep a Song in Your Heart!". . . . .Donna    
(back) Subject: Re: harp stop literature From: <DarrylbytheSea@aol.com> Date: Wed, 22 Jun 2005 13:52:59 EDT   Randy, Doesn't Seth Bingham's "Twilight at Fiesole" (sp?) use both or at least chimes? Actually, I think Bingham uses the harp in 2 or 3 pieces. Joyce Jones' sweet little piece on the Japanese song with "dragonfly" in = the title uses harp. Joseph Clokey's "Ballade in D" uses harp and chimes. Albert Snow's "Distant Chimes" uses the chimes extensively. My guess is that most or these pieces are p.o.o.p., however list members should have copies to photocopy if the copyright has expired. Dale Tucker = at Belwin might be helpful on the Clokey and Snow. Also, I think this was discussed on PIPORG-L some time ago, so you might find this topic in their archives. I guess you'll just have to write something! Yours, Darryl  
(back) Subject: Re: harp stop literature From: "Stephen Best" <stevebest@usadatanet.net> Date: Wed, 22 Jun 2005 14:11:36 -0400   Healey Willan's "Introduction, Passacaglia, and Fugue" suggests the harp stop for one of the passacaglia variations, but it's one heck of a piece to learn if you're doing it just for those 18 arpeggiated harp chords!   Steve Best in Utica, NY    
(back) Subject: RE: harp stop literature From: "Randy Terry" <randy@peacham.homeip.net> Date: Wed, 22 Jun 2005 12:07:20 -0700   Edwin Lemare's arrangement of "Danny Boy" or, as officially titled "Irish Air From County Derry" calls for the harp in several places. It is a bit challenging - you have to work with the legato, etc, but nothing beyond = what most of us can do. It's a pretty good arrangement, and you can use lots = of color stops and strings. I don't have a harp so use the 4' Rohrflute instead.   +++++++++++++++++++++++++++++ Randy Terry Music Minister The Episcopal Church of St. Peter Redwood City, California        
(back) Subject: And off to a more quiet place we go. . . From: "N. Russotto" <ravenrockdesigns@gmail.com> Date: Wed, 22 Jun 2005 17:13:17 -0400   Dear friends, Tomorrow, it's off to Vermont with me and my family. We'll be off to a=20 quieter place where there are few phones, no computers, and fewer modern=20 conveniences, when compared to NYC, or some such place. So, you'll excuse m= e=20 if it takes a bit longer to respond to emails, or if I don't respond to the= m=20 entirely. But we'll be having fun up there, there's no doubt about it.=20 Boating, water skiing, fishing, running and biking all are daily=20 occurrences. The biggest worry: What time should I go play golf and get the= =20 Wall St. Journal in the mornings? And, of course, I'll be playing the lovel= y=20 little II/13 1868 Wm. Allen Johnson and Sons tracker at the local UCC,=20 therefore I'll be hanging up the pedal shoes by no means. Cheers, NFR   --=20 Nicholas F. Russotto Somers, Connecticut Organist, Holy Cross PNCC Enfield, Connecticut  
(back) Subject: [LONG] Aint' misbehaving, Part 1 of 2 From: "Glenda" <gksjd85@direcway.com> Date: Wed, 22 Jun 2005 20:16:35 -0500   Forgive the lack of stellar literary value - I just reviewed a huge sheaf of closing documents, and the legalese and banker's language have frozen any creative writing ability within me.   Enjoy if you can.   Ain't misbehaving - Part 1 of 2   Saturday   Well, maybe just a little. I was convinced that last week must be the week of a full moon. Everyone I encountered seemed antsy. I spent three different sessions with a hysterical woman client, and thankfully her matter resolved itself (the patient recovered, obviating the need for a guardianship, but she wanted to go back to live with the sibling my client didn't trust). Another potential client came in attorney-shopping, telling me about how he was double-crossed into paying alimony eleven years ago. He didn't like my suggestion that it was a little too late to do anything about it. And our office was trying to schedule a hearing to get a husband out of the wife's house in a pending divorce; he was just happy as a clam to stay in the house, and his attorney would not return phone calls for the hearing to be scheduled. The wife didn't want to be mean, but we were considering eviction proceedings.   I noticed I've been more antsy too - I'm not in court as much as when I was with the state, so I don't get to beat up on the other side as much as I want. A list friend attributed my angst to the pain medication for my back (whether I messed up the spine or just the muscles has not been determined yet, although it is better). But I have refused to take any pain meds for over two weeks now. Meanwhile, business at the office was pouring in, but one doesn't appear in front of the judge as much on real estate matters. Still it is hard to get away at lunchtime for organ practice, and I'm generally drained of energy by the time I leave work. But I keep working at it, deciding that the Bach TA&F cannot be worth the effort, because I hate it vociferously as music and only wanted to play it for the titillating effect on the consumer.   Anyway, while everyone else was flitting around to AGO, AAM and OHS conventions, I decided to take a weekend and see a couple of organs myself. This time it was another weekend trip to Atlanta, with a side trip on the way home for an organ lesson in Birmingham.   By Friday night after work I was too tired to drive to Pensacola to hear a friend's 16-year old son in piano recital. I still had to pack for the weekend drive to Atlanta. Rick had rented the movie "National Treasure", which I wanted to see. But I still had to iron my clothes. I sat down and watched the movie anyway.   The scene inside Trinity Wall Street showed the facade of the organ in the rear gallery. My question was whether that is the old Skinner facade (pre-removal) or something new? It looked like what I remembered from 1996, but then I won't swear to anything. I assumed this movie was filmed prior to the removal.   Anyway, I finally packed and fell into bed around midnight. But I could not sleep, and my back hurt. I felt like lead when the alarm went off at 5:00. By 7:15 CT I was on the road. I decided to listen to a CLE CD regarding intellectual property: patents, trademarks and copyright. The first two sections almost put me right back to sleep, but the section on copyright was mildly informative.   The trip was uneventful, and I made it to Hotlanta by around 1:30 ET, making a couple of stops on the way. A friend ostensibly had made arrangements for me to see and play two organs (rear galleries, remember) in midtown. I was wondering how on earth one could manage to get console time on a Saturday afternoon. We were due at Christ Church Cathedral around 3:15. When we arrived, a wedding was just concluding, and we got to hear from the narthex the faint strains of the fanfare from Handel's Water Music as the recessional. We met Connie Melgaard, the assistant organist, and talked while waiting for the wedding photos to conclude so that we could examine the organ.   The instrument was of course a rear gallery confection (where the murder occurs in this particular novel) with two divisions flanking a center circular window. Originally the organ was a 1939 Kimball of 24 ranks, then Ruffatti threw out some, rebuilt some, and added some in 1972. In 1991, Goulding and Wood took a stab at it, retaining the remaining 6 Kimball ranks and most of the Ruffatti, and adding a little. It is now 3-manual, 66 ranks. The church was lovely. The specs can be found on-line at www.christtheking-atl.org/Ministries/cathedralorganspecs.html.   The wedding photos ate up a lot of time because the photographer didn't make it to the wedding until just before the end of it. So I had a grand total of ten minutes to play before afternoon mass, and no time to examine the sounds. And in the middle of it the organist asked me to sight read something she wanted to learn. I rushed through a couple of hymns from memory and the last half of Elgar's P&C#4. I did not get to hear how the organ sounded in the nave, before we had to rush off to our next appointment.   Needless to say, I was extremely disappointed that I had driven so far (over 300 miles) for so little. But my luck did not improve. When we arrived at our next destination, Peachtree Christian Church, there was an organ crew in the rear gallery with pipes all over the place. My heart sank. We made our way upstairs to meet Herb Buffington, the organist. Dan Angerstein and staff of the Schleuter Organ Company were there to reinstall a division of pipes that he had reworked. I believe he told me he had worked on some of the mixtures to tone them down because they were too shrill.   Let me back up - there were actually two organs. The front gallery organ was a Pilcher from 1928, a very nice organ other than a little out of tune in places. However, that was to be expected given our extreme weather already this year. The rear gallery organ was a 4-manual 1974 Ruffatti instrument, and the console could play the Pilcher also. There have been some other modifications. You can view the stoplist on-line by going to www.peachtree.org/ministries/music.html, and clicking where indicated, which will pop up an Adobe document.   By this time I was completely out of the mood to play. Dan wanted to hear some of the previous work done on the organ, so I asked Herb to play so that we could walk around downstairs. He demonstrated all the working divisions and the Pilcher, which was very sweet. I was offered time at the console, but the crew planned on racking up the pipes and tuning them that evening, and were on the clock. So I reluctantly declined, secretly fuming at the lack of planning that went into this crawl. Herb offered me console time any time, and I promised to call him in advance personally before my next trip. It was great meeting him, Angerstein and the crew from Schleuter's.   I must stop a minute to tell you about the loveliness of this church. One feels wrapped in stained glass. The windows are huge - the sides are almost nothing but stained glass. There is a large stained glass in each gallery. They depict the life of Christ, and are overwhelming, a series of arches flanking the church. I picked up a brochure on the windows, and all it did was depict them and tell the stories therein and of the church's fundamental beliefs (without details about who paid for the windows and from where they came). I was impressed. And over the altar was a painted reredos of Christ at table with the disciples two disciples met on the road to Emmaus. I was filled with a desire to attend a church service there one day. I meant to leaf through the hymnal and didn't - that's what happens when the clarity of the mind gets cluttered by frustration and confusion.   Anyway, I was still aggravated. I have been spoiled by people on this list who have in the past been so kind, helpful and thoughtful in arranging console time for me (thanks to people like Malcolm, David, Sand and Dick, among others). I resolved that I would confirm every appointment myself next time. We went to an old historic bar, Atkins something-or-another, to grab an appetizer (and my first ever Stella Artois). That's when I checked my phone messages and called my teacher to find out that his father had suffered a heart attack, and that he had to cancel my organ lesson in Birmingham on Monday morning. Yet another disappointment.   Then we dashed off to a birthday party for the house manager of the Fox Theatre, a beautiful and charming woman that I met a year or so ago and had dinner with on my last visit to Larry Embury's. There were drinks and chocolate, lots of chocolate desserts, at a home built in the 1920s near Grant Park that had been completely renovated.   I had spent the last few weeks reading Tom Wolfe's "A Man in Full". Whenever I break down and read Tom Wolfe I am so forcefully reminded of the doctrine of the depravity of man, and my senses become sharpened to the point of observing those around me suspiciously to detect their hidden agendas. That is always a tiring mental exercise, and one which kept me wondering about a couple of the chronically name-dropping strangers I met that night. I knew only two people there.   Finally I mercifully made it to bed wearily (count those adverbs!), unmindful of my back and neck pains.   Next posting - Sunday.   Glenda Sutton gksjd85@direcway.com          
(back) Subject: Re: harp stop literature From: "Randolph Runyon" <runyonr@muohio.edu> Date: Wed, 22 Jun 2005 22:37:53 -0400     On Jun 22, 2005, at 1:52 PM, DarrylbytheSea@aol.com wrote:   > > I guess you'll just have to write something! > > Yours, > > Darryl >   Excellent idea! And thanks for the suggestions. By the way, since you mention Bingham, I'm working on his Roulade, which although it has no harp stops, is such a delightful piece.   All best,   Randy  
(back) Subject: Re: harp stop literature From: <DarrylbytheSea@aol.com> Date: Wed, 22 Jun 2005 22:41:57 EDT   The Roulade is a boooooger to play and play well. It's perpetual motion = for sure! What a great summer project! Yours, Darryl  
(back) Subject: Re: harp stop literature From: <BlueeyedBear@aol.com> Date: Wed, 22 Jun 2005 22:43:47 EDT   the middle section of garth edmundson's "humoresque fantastique" calls for = an 8' harp stop. when i played it i added an 8' harmonic flute for a little more beef & it worked like a charm.   scot  
(back) Subject: Re: harp stop literature From: "Randolph Runyon" <runyonr@muohio.edu> Date: Wed, 22 Jun 2005 22:57:22 -0400   Many thanks to all those who wrote in so far with harp repertoire =20 suggestions. I think we can add the Cort=E8ge of Dupr=E9's Cort=E8ge et = =20 Litanie to this too, right? it calls for the "Celesta" (as opposed =20 to the celeste).   Randy Runyon     On Jun 22, 2005, at 10:43 PM, BlueeyedBear@aol.com wrote:   > the middle section of garth edmundson's "humoresque fantastique" =20 > calls for an > 8' harp stop. when i played it i added an 8' harmonic flute for a =20 > little > more beef & it worked like a charm. > > scot > > ****************************************************************** > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > List-Subscribe: <mailto:pipechat-on@pipechat.org> > List-Digest: <mailto:pipechat-digest@pipechat.org> > List-Unsubscribe: <mailto:pipechat-off@pipechat.org> > >    
(back) Subject: Re: harp stop literature From: <OrganNYC@aol.com> Date: Wed, 22 Jun 2005 23:23:20 EDT   Alexander Russell's "St. Lawrence Sketches" calls for harp and chimes in most (I think) of the four movements. "The Bells of St. Anne de Beaupre" = is probably the most familiar movement of this work. Steve Lawson - NYC  
(back) Subject: J E Kondermann From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Wed, 22 Jun 2005 21:58:12 -0700 (PDT)   Hello,   I've stumbled across some very interesting early music, which may be Czech, but is more likely to be German.   It is a "Magnificat" based on plainsong, with which the organ part alternates.   The composer is one J E Kondermann apparently, but a search reveals absolutely nothing about him. However, the music is wonderful, and deserves to be known.   Has anyone ever heard of this composer?   Regards,   Colin Mitchell UK         ____________________________________________________ Yahoo! Sports Rekindle the Rivalries. Sign up for Fantasy Football http://football.fantasysports.yahoo.com