PipeChat Digest #5421 - Friday, June 24, 2005 Harp Stop Literature by "Thomas/Patricia Gregory" <email@example.com> Re: J E Kondermann by "Robert Lind" <firstname.lastname@example.org> RE: J E Kondermann by "Glenda" <email@example.com> Hinners Move (X-Posted) by <Devon3000@aol.com> Re: J E Kondermann by "Petri V=E4h=E4talo" <firstname.lastname@example.org> Czech Music update by "Colin Mitchell" <email@example.com> Organ Event by "mack02445" <firstname.lastname@example.org> Kindermann? (was J E Kondermann) by "Robert Lind" <email@example.com> Re: Kindermann? (was J E Kondermann) by "Colin Mitchell" <firstname.lastname@example.org> Supporting young organists by "Stephen Best" <email@example.com> Re: Supporting young organists by <RonSeverin@aol.com> [LONG] Ain't Misbehavin', Part 2 of 2 by "Glenda" <firstname.lastname@example.org> WURLITZER BOOK: AFTER AN INITIAL THUMB-THROUGH...(x post) by <ScottFop@aol.com> a view through the rear-view mirror by "Randy Terry" <email@example.com> fun times... (xpost) by "Jonathan Orwig" <firstname.lastname@example.org> Organists under 30, please email me off list by "Desiree'" <email@example.com>
(back) Subject: Harp Stop Literature From: "Thomas/Patricia Gregory" <firstname.lastname@example.org> Date: Thu, 23 Jun 2005 05:52:43 -0500 One of the best uses of the harp stop is the middle section of "The Bells Of St. Anne" from "The St. Lawrence Sketches by Alexander Russell. All four sketches were recently recorded by Wilma Jensen using a very fine Casavant instrument. She substituted a big flute for the harp (which I believe is suggested in the score). The music is POP at the present time. Best wishes, Tom Gregory Waukesha WI USA
(back) Subject: Re: J E Kondermann From: "Robert Lind" <email@example.com> Date: Thu, 23 Jun 2005 07:05:21 -0500 The composer is new to me, and I don't find him listed in either the Henderson or Beckmann books. I've been following your Czech thread and am astonished that some = organists aren't aware of the wealth of organ music from that part of the world from the 17th century right up to the present. Kondermann, however, has me stumped. Please keep digging, and I hope you'll share your sources with = the list. Bob Lind ----- Original Message ----- From: Colin Mitchell <firstname.lastname@example.org> To: PipeChat <email@example.com> Sent: Wednesday, June 22, 2005 11:58 PM Subject: J E Kondermann > 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?
(back) Subject: RE: J E Kondermann From: "Glenda" <firstname.lastname@example.org> Date: Thu, 23 Jun 2005 07:16:31 -0500 I have actually heard this name before, but can't remember ever hearing anything about or by him. But surely someone on this list or the other can enlighten us. Glenda Sutton email@example.com (He was such a stiff - never went out drinking with the other organists) -----Original Message----- From: firstname.lastname@example.org [mailto:email@example.com] On Behalf Of Robert Lind The composer is new to me, and I don't find him listed in either the Henderson or Beckmann books.
(back) Subject: Hinners Move (X-Posted) From: <Devon3000@aol.com> Date: Thu, 23 Jun 2005 10:32:25 EDT Hi Listers, All went quite well, and we managed to get the Hinners (1905) moved from Evanston to DeKalb, Illinois. Thank heaven for list member Greg = Ceurvorst, who stopped by when we all we beginning to wilt, and helped us move the = heaviest last parts down the difficult stairwells. We had a couple problems, though, and if any organbuilders could help me = find replacement parts the volunteers for this project would be very thankful, = as this is largely a volunteer effort. We thought we would carefully lift up = the main windchest, but we heard an aweful sound as we broke a few of the 4' octave coupler mechanisms as the rods through the tracker squares caught. = Having moved it 30 years ago, I didn't recall the need to slowly lift and guide = each of 61 vertical rods. If anyone knows where we can get replacements for a couple of the wooden coupler pieces, please contact me privately. Then, we were so careful, as the wooden tracers are paper thin, to = carefully tie the windchest to the wall of the rented van. As they were unloading, = an errant foot wiped out for of the trackers right at the square connection. = Again, we need some expert advice to repair or replace. Otherwise, we had an excellent and careful crew, including two young men = who were in our recent POE, and all else went quite smoothly. As we can't go = any further until we find a way to repair the broken parts (they aren't very accessible once the whole thing is back in place), I hope some of you = might be able to help us. There may even be supply house parts now that weren't = available 30 years ago when I last moved this organ. Thanks for the help, and I hope to be able to report it's restoration and playing again real soon! Devon Hollingsworth, in quite hot DeKalb, Illinois
(back) Subject: Re: J E Kondermann From: "Petri V=E4h=E4talo" <firstname.lastname@example.org> Date: Thu, 23 Jun 2005 18:32:32 +0300 >I've stumbled across some very interesting early >music, which may be Czech, but is more likely to be >German. > >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 If it were a misprint, here's a very wild guess: Johann Erasmus Kindermann (1616-1655), organist in Nuremberg. -Petri -- ..----------.----------.----------.----------.----------. Petri Vahatalo, Pharmacist Kuntokatu 21, FIN-15900 Lahti, Finland tel. +358 3 753 4101, fax +358 3 753 4102 mobile +358 50 64336, e-mail email@example.com ..----------.----------.----------.----------.----------.
(back) Subject: Czech Music update From: "Colin Mitchell" <firstname.lastname@example.org> Date: Thu, 23 Jun 2005 09:09:36 -0700 (PDT) Hello, I suppose one of the great joys of music is that we "discover" things unexpectedly, and then discover more until we realise that we know very little at all. This is exactly why I ground to a premature, temporary halt with the Czech organ-music thing. Like many, I was aware of Seger, Brixi, Cernohorsky, organ music by Smetana and Dvorak, as well as the solo part from Janaceck's "Glagolitic Mass." I was well versed with Eben's music, for the great and good gentleman spent quite a long time working only 40 miles away from where I live, at the Royal Northern College of Music, Manchester, here in the UK. To discover music previously unknown to me from the baroque, classical and romantic periods has been very interesting, but I am just in awe of the volume of modern and contemporary repertoire which has been written in the Czech Republic,(a country with only 10,000,000 people) and this is what I am working on as best I can. The problem is, that even ten or more years after the velvet revolution, a lot remains a bit obscure, and there seems to be a certain reticence on the part of Czechs to reach out to the rest of us, and blow their own state trumpets. That means that short of spending several thousands of pounds (dollars) on music, or waiting years for the libraries to obtain copies, I am a bit handicapped. I fear that the best I will be able to do in the time available, is to scratch at the surface, produce lists, point towards a few music samples and hope that others will feel compelled to find out more for themselves. I don't know why, but from an early age (around 15), I've always gravitated towards Bach,Reger and the more contrapuntal contemporary organ-music styles. I was forever going on about Central European music and Hindemith at Uni, and everyone thought I was mad! I used to say at the time, that I instinctively "knew" that there was an alternative to French Impressionism and the key-bashing style of so many contemporary composers, and now that French and German organ-music seems to be in decline, I discover wonderful music from the Czech Republic which seems to prove that my instincts were correct. We should all be PLAYING this music. Regards, Colin Mitchell UK --- Robert Lind <email@example.com> wrote: > > I've been following your Czech thread and am > astonished that some organists > aren't aware of the wealth of organ music from that > part of the world from > the 17th century right up to the present. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
(back) Subject: Organ Event From: "mack02445" <firstname.lastname@example.org> Date: Thu, 23 Jun 2005 12:43:51 -0400 For those of us in the Massachusetts area and the Cape in particular, I would like to remind you of the following recital. *Dedicatory Recital by Kent Tritle, Concert Organist* /*of the West Parish Memorial Pipe Organ Installed by Mander Organs Ltd in February 2005*/ *Friday, June 24, 2005 at 7:30 p.m. The historic 1717 West Parish Meetinghouse 2049 Meetinghouse Way (Route 149), West Barnstable, MA Reception to follow in Jenkins Hall*
(back) Subject: Kindermann? (was J E Kondermann) From: "Robert Lind" <email@example.com> Date: Thu, 23 Jun 2005 13:22:10 -0500 Excellent point, Petri. For Kindermann, one can find, e.g., Magnificat = VIII Toni for organ, in which there are 6 separate versi. Bob Lind ----- Original Message ----- From: Petri V=E4h=E4talo <firstname.lastname@example.org> To: PipeChat <email@example.com> Sent: Thursday, June 23, 2005 10:32 AM Subject: Re: J E Kondermann > If it were a misprint, here's a very wild guess: Johann Erasmus > Kindermann (1616-1655), organist in Nuremberg. > > -Petri > -- > .----------.----------.----------.----------.----------. > Petri Vahatalo, Pharmacist > Kuntokatu 21, FIN-15900 Lahti, Finland > tel. +358 3 753 4101, fax +358 3 753 4102 > mobile +358 50 64336, e-mail firstname.lastname@example.org
(back) Subject: Re: Kindermann? (was J E Kondermann) From: "Colin Mitchell" <email@example.com> Date: Thu, 23 Jun 2005 11:30:53 -0700 (PDT) Hello, You've done it for me before I even start looking! That's the work I've heard, and it is rather good. Thanks to all for the information. Regards, Colin Mitchell UK --- Robert Lind <firstname.lastname@example.org> wrote: > Excellent point, Petri. For Kindermann, one can > find, e.g., Magnificat VIII > Toni for organ, in which there are 6 separate versi. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
(back) Subject: Supporting young organists From: "Stephen Best" <email@example.com> Date: Thu, 23 Jun 2005 14:46:48 -0400 Hi everyone, I thought you might be interested in the latest way that the Central New York Chapter of the American Guild of Organists is encouraging young people to study the organ. Thanks to the generosity of Sharon Wagner, an area organist who owns the Mohawk Valley School of Music, CNYAGO has been given a Baldwin electronic organ -- 2 manuals and AGO pedalboard. The gift is exciting enough, but the reason it was given is even more exciting: CNYAGO will loan the organ to a deserving young organist for use as a home practice instrument for as long as that person is studying organ and living in the area, after which time it will be passed on to another young person. The first recipient of the instrument is sixteen year old Michael Wade, a student for whom one of my "Three for the Young (at Heart)" pieces <http://www.evensongmusic.net> was written. There are other young students who could benefit from having a practice instrument at home, and I'm hoping Ms. Wagner's gift many encourage others to make a similar donation. I should also mention that several of our AGO members support young people individually by paying the cost of their AGO membership. Our young members attend meetings frequently and are welcomed enthusiastically and graciously by our more senior members. Let it not be said that AGO is an elite organization -- at least not in Central New York State! Steve Best in Utica, NY (Dean of the CNYAGO chapter)
(back) Subject: Re: Supporting young organists From: <RonSeverin@aol.com> Date: Thu, 23 Jun 2005 16:03:55 EDT There have been several electronic organ dealers who have made contributions of used organs that still play but are too old to command much in the resale market. They are most times better off donating to teachers for their students to use at home, against future sales to these students. Floor taxes eat these guys up. I'll bet if you asked some of those in your area, you might be able to shake out four or five instruments for your students. An organ teacher that I know personally here in SoCal and known to the list had no trouble getting about that many for her students. So it's a Baldwin model 5 or 10, or an old Rodgers 75 or an old Allen 120, a reed organ, or a Hammond. It will get the job done. Ron Severin
(back) Subject: [LONG] Ain't Misbehavin', Part 2 of 2 From: "Glenda" <firstname.lastname@example.org> Date: Thu, 23 Jun 2005 18:22:38 -0500 Ain't Misbehavin' Part 2 of 2 I did sleep like a dead person, and awakened without back pain but a terrible 'crick' in my neck. But Sunday morning dawned bright and fair, with actually a cool waft in the air. Larry Embury of Fox Theatre fame and I attended services at St. Philip's Cathedral (Episcopal). This was not my first visit there. But since I had visited last, the cathedral had built a huge addition, with auditorium, bookstore, nursery, meeting rooms, atrium, and various other accoutrements. The stone somehow matched perfectly the old church. The little bookstore was to die for - anything from prayer books to Choirmaster Handbooks to icons to CDs of organ and choral music, and of course other books. I could have spent the day there. I picked up a book for Rick, a letter opener for myself (Could this be a murder weapon? Should I change from a Beretta to a silver letter opener? Naw, that eliminates too many suspects), and a CD of Marilyn Keiser at some cathedral in New Orleans (not St. Louis, but my mind goes blank). Then we hurried away to the service. Some of the renovation included sealing the ceiling and tweaking the PA system. The sound was much improved since my last visit a couple years ago. I must tell you the Eucharist was an organist's and a worshipper's dream. Everyone was dressed up - no polo shirts and shorts here. People were quiet during the prelude - yes, you heard me. [Sidebar: The organ and console and choir are behind a screen behind the altar. The pulpit is on the right instead of the left.] I didn't expect much in deep summer, but I was to be pleasantly surprised. A real choir was in attendance, decked out in their vestments. We had real church, with great hymns, a choir Gradual to die for (I did not want them to quit), and a fabulous sermon. The choir's sound was like the finest silk, really the best choir I have heard in several years, maybe ever. The creed and the prayers and the confession were not mad sprints to see who could finish first - they were done with great deliberation and meaning, thoughtful and provoking. Communion music included another choir anthem, two congregational hymns (I did note that the congregation did not readily sing during communion, but the choir was strong), and an organ improvisation. Let's see - I guess I can summarize the music: Prelude: Chanson de Matin (Elgar) (something else was added, but I cannot tell you what it was) Processional: To the name of our salvation (Oriel) Kyrie: Schubert Gradual (choir): Psalm 69: 8-20 (Joseph Barnby) Sequence: There is a balm in Gilead Offertory Anthem: King of glory, King of peace (T. Frederick H. Candlyn/George Herbert) Presentation Hymn: The God of Abraham praise (Leoni) Sursum Corda (sung) Sanctus: Schubert Agnus Dei: Schubert Communion: Anthem: Ye that do your Master's will (George Dyson/CharlesWesley) Hymns: Sing praise to our Creator (Christus, der is mein Leben) O Jesus, I have promised (Nyland) Procession Hymn: Ye servants of God, your Master proclaim (Paderborn) Postlude: Prelude in G major (Bach) I thought I had remembered reading that Bruce Neswick was participating this week at some regional AGO convention, and sure enough, after church when we went back to speak to the organist, it was his assistant David Fishburn, who I had met a couple years ago. He has a place down in Florida not far from where I live, and is a most charming man and talented musician. I kept telling myself that I needed to visit a different church for Sunday service on each visit, but I found myself fervently promising myself that I would spend every Sunday in Atlanta right there at St. Philip's. Because Larry had agreed to play for an ATOS meeting that afternoon, we hurriedly drove out to a community called Mableton north of Atlanta proper, had a quick lunch at an Appleby's (with a perfect margarita to fortify me), and then to the home of a member, Bucky Reddish. Bucky's recently built home also sported a brand new Walker digital theatre organ, only one of four that have been installed in a residence. Inside the lovely home chairs had been placed throughout so that the attendees could enjoy hearing the instrument. Among the attendees was Joe Patten, the "phantom" of the Fox Theatre and Mighty Mo's curator. Now I was out of my element here. I knew virtually nothing about theatre organs, and could boast having heard maybe a grand total of three or four hours of music on one in my lifetime. Interloper that I was, I shrunk into a corner and made very small as the room filled up. I have no idea how many people were packed into the house. Larry's program (as best I can recall): Scarborough Fair If you love me half as much as I love you Czardus Memories Ain't Misbehavin' My Romance I don't know how to love him I'm in the mood for love The glory of love intermission Christmas Song I've got rhythm When Sonny gets blue Several pieces to demonstrate the organ Simple gifts Embraceable you The organ was set up in the family room, with a ceiling that rose unhindered to the second floor. There were six speakers on either side of the high walls, and twelve more speakers in the loft behind us. This was a tough crowd; they watched intently at every move the performer made, and for me at that close quarters it would have been unnerving. But Larry is a consummate entertainer and drank it in like so much water. Walker had taken great pains with matching the sound to the room, and there were great dynamics, nothing painful, everything crisp and cleanly heard. The second selection began with an old-fashioned piano sound with a Fats Waller sound, before he segued into the Wurlitzer style. What I found interesting was the dichotomy of styles and how people in the crowd reacted - one set would start nodding in approval at the ragtime, another at the heavy tremolo, another at the use of the string section. The Czardus featured the violins, but I enjoyed the prominent bass line, my favorite Walker feature. He received a lot of "Wow"s after that one. The Lloyd Webber sported typical theatre organ sounds, with percussion and even diapason thrown in at one point. "My Romance" included some intricate thumbing down so that he was playing three manuals at once, and his use of all the tinkly stuff at one time. I also made a discovery - for me, theatre organ is, like beer, an acquired taste. I was enthralled and impressed for an hour, but worn out and unable to concentrate after that. That means that my theatre organ tolerance is higher than solo harpsichord (25 minutes), baroque instrument performance (no more than 5 minutes per hour), and accordian music (0 minutes). And this tolerance is an enormous improvement over my childhood tolerance, for then I hated theatre organs and Hammonds with a passion, and heard virtually no classical organ music until I was out of law school. But I also hated beer, coffee and corn, and have since developed a taste for same. So there is hope for me. After the recital, I met several of the ATOS chapter members, most of whom were acquainted with my friend Dorothy Standley of the Pensacola chapter. They were also intimately familiar with all the region theatre organs, and asked about the status of the Robert Morton buried in the Pensacola Saenger. The chapter had assisted in the ultimate installation of a TO in the Rylander Theatre of Americus, and had recently bought a Robert Morton organ console in Ohio to go with a Morton organ originally from the Capital Theatre. The plan is to install it in an area theatre, and as I did not write it down, I have forgotten which theatre. But this is an active and enthusiastic chapter, and it was gratifying to see a group so dedicated to the preservation of the theatre organ. Several graciously offered to show me some area church organs on my next trip. Dinner consisted of oriental food with Sapporo beer (another first), and some marble-slab mixed ice cream, all in a community just outside the entrance to Emory University. Although the food was good, I was surprised that it was somewhat limp and wilted compared to our similar DeFuniak fare. Go figure - that the mighty DFS would have superior oriental cuisine. The next morning I packed and bid Atlanta goodbye. I found that for some reason I couldn't listen to Marilyn Keiser on CD, and ended up with Earth, Wind and Fire. But even that didn't suffice, so when I gained on Montgomery I changed over the Led Zeppelin to cleanse the palate. To be sure, my favorite blues number sported some Hammond B-3 with guitar. Let's see - what other pearls of wisdom may I impart? 1. If you have a line of cars on your back bumper and cars are passing you on the right, you are in the wrong lane, buster. 2. Go with your first instincts. 3. Everyone has an agenda - there is no free lunch. Enough of this gratis stuff - I make a living charging people for this advice now. Glenda Sutton email@example.com
(back) Subject: WURLITZER BOOK: AFTER AN INITIAL THUMB-THROUGH...(x post) From: <ScottFop@aol.com> Date: Thu, 23 Jun 2005 22:54:52 EDT I must take my hat off to Mr. Jeff Weiler, those who assisted him and, of = course, to the memory of the late David Junchen who started the whole = process those many years ago. I wish to also compliment Jeff on many of the = photo captions which are so in keeping with his vast knowledge and amicable personality. This book is an INCREDIBLE resource of American music history, and anyone = who knows anything about music or organs should definitely add this to = their collection. (Do we all remember when Volumes I, II and III sold out and = people were scrambling on Ebay and everywhere else paying big bucks for those books?) This will no doubt bring a similar reaction if not greater. GREAT GREAT GREAT WORK, JEFF!! Thank you so very much from all of us who = have finally received the book we have so long been waiting to receive, a most heartfelt thank you! (Especially for my Opus 217!...) -Scott, Memphis Scott F.Foppiano In te Domine speravi, non confundar in aeternum.
(back) Subject: a view through the rear-view mirror From: "Randy Terry" <firstname.lastname@example.org> Date: Thu, 23 Jun 2005 22:28:02 -0700 I wanted to ask what others on the list do when they are in a situation where they (when playing) are seated with no direct view of the action? I'm in my third position where I have my back to the chancel/altar area. In my first such job, the organ, located in the gallery, had a wonderful 2-1/2' mirror built so I had a full view of the altar area, and it was on mounts that allowed it to easily be lowered when I had to conduct. I've never seen anything like it since. The second job had the ubiquitous console mirror that was adequate. Currently, I am working in a situation where the gallery is higher and further away from the chancel that ever before. I have two "warning" = lights at the console - 1 for the narthex, and 1 for the altar. We only use the narthex signal - a definite need as the rector always starts the service late. I did not have a mirror here when I came, and I found a 360 degree automobile rearview mirror that works well. The only time I have to use = it is weddings and at the fraction, so it is OK. But I think a nicer one is = in order, especially as I am going on a longer vacation in a few weeks and I want my guest musician to have all he needs. Anyone know where one can find a wonderful mirror like the one I described in my 1st job above? +++++++++++++++++++++++++++++ Randy Terry Music Minister The Episcopal Church of St. Peter Redwood City, California
(back) Subject: fun times... (xpost) From: "Jonathan Orwig" <email@example.com> Date: Thu, 23 Jun 2005 22:48:32 -0700 Hello folks... I had a great experience yesterday - A friend of mine is giving a concert, and asked me to come listen to the registrations for his French stuff and give suggestions... The organ is a 83-rank Schlicker, so as you can imagine, it can be a challenge to get a romantic sound out of it. Fortunately, there are more than the usual number of 8' stops (at least for a Schlicker), so we were able to get some decent sounds. We both really missed an Hautbois... but aside from that, I think we got a most un-Schlicker sound out of the beast I was so flattered that my friend thought highly enough of my ear that he wanted my opinion... he's probably forgotten more about music than I'll ever know... <chuckle> I also got to do a little coaching on interpretation, and found that I REALLY still enjoy teaching (but I prefer advanced students <grin>) I wish I could make the concert - he's doing the entire Widor 2nd Symphonie (one of my FAVORITE pieces) -- Jonathan Orwig Evensong Music, Media and Graphics New Organ and Choral Music http://www.evensongmusic.net
(back) Subject: Organists under 30, please email me off list From: "Desiree'" <firstname.lastname@example.org> Date: Fri, 24 Jun 2005 01:33:06 -0700 (PDT) no need to repeat... But there is something up the sleeves of a few of us that you may be = interested in. TDH __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com