PipeChat Digest #5423 - Sunday, June 26, 2005 J.H. Rodgers (was: A wunnderful morning) by "Robert Lind" <firstname.lastname@example.org> Re: Audition: a whole hour ? by "Cecil Rigby" <email@example.com> Re: Audition: an hour by "Shirley" <firstname.lastname@example.org> David Broome's website? by <Wuxuzusu@aol.com> RE: David Broome's website? by "Bill Wymond" <BillW@fpcjackson.org> Audition? What Audition?? by "Charlie Lester" <email@example.com> Re: David Broome's website? by "David Scribner" <firstname.lastname@example.org> MP3 file: Randy Runyon's Air for Trumpet by "Jonathan Orwig" <email@example.com> Re: PipeChat music with harpobells/ audition recital by <firstname.lastname@example.org> RE: Audition: an hour by "Glenda" <email@example.com> Re: Audition? What Audition?? by <ProOrgo53@aol.com> A reasonable audition by "Randy Terry" <firstname.lastname@example.org> Re: Audition? What Audition?? by <email@example.com> RE: Audition? What Audition?? by "Glenda" <firstname.lastname@example.org> What is a Pilcher Triaulephone ? by <OrganNYC@aol.com> Athens on Friday by "John Foss" <email@example.com>
(back) Subject: J.H. Rodgers (was: A wunnderful morning) From: "Robert Lind" <firstname.lastname@example.org> Date: Sat, 25 Jun 2005 07:33:43 -0500 I own 2 copies of Rodgers' Sonata in E Minor (# 1, dedicated to Guilmant, with whom he studied), and copies of Sonatas 2 and 3. I don't know of any others. Is the copy of the F Minor you're playing from in manuscript form? Perhaps it never was published. :-) Does anyone besides Bruce play anything by Rodgers? I have quite a bit of his music (2nd-hand purchases), have read it all through at one time or another, but have never programmed anything. What are his best pieces? Curious in hot Chicagoland, Bob Lind ----- Original Message ----- From: <email@example.com> To: <firstname.lastname@example.org> Sent: Friday, June 24, 2005 10:01 PM Subject: A wunnderful morning > I got busy learning Alex Guilmant's Sonata in d-minor and > James Rodgers' Sonata in f-minor, both very similar in mood.
(back) Subject: Re: Audition: a whole hour ? From: "Cecil Rigby" <email@example.com> Date: Sat, 25 Jun 2005 09:26:53 -0400 Anymore there are relatively few church pipe organs in our area, but I = know of several positions open *right now* in what is known as the greater Greenville area (upstate SC), and some of them are on pipe instruments. Also, one very nice pipe position in Clemson is about to become available after decades. I dunno if there's "something" in the water- there've been ads in the local papers every week for about four months now. THe same = week I gained my spot two *more* openings came about in Foothills Presbytery (PCUSA, which had already had five recent openings very quickly filled) = and one of those was a pipe position. We are blessed here, having several fine colleges and universities in the area (Bob Jones, Furman U., Presbyterian, Newberry, and more) whose organ students are indeed "queing up." There were four people auditioned for the position I was finally offered, and two were from as far away as Michigan. So at least in this area there *is* a need for auditions. Others can say better than I what these auditions may purport to show............. Cecil Rigby firstname.lastname@example.org ES Lutheran CH Seneca, SC "Harry Grove" <email@example.com> wrote: > Are so many folks all vying for a position that you can form a queue ?
(back) Subject: Re: Audition: an hour From: "Shirley" <firstname.lastname@example.org> Date: Sat, 25 Jun 2005 10:48:31 -0500 (CDT) Chuck, I would play both organ and piano music that's in the *church* = repertoire rather than in the *recital* repertoire. A Mendelssohn sonata, = for example would work. Some Brahms. Bach Liturgical Year selections. = Callahan for sure, and other contemporary composers. Yes, do a recital, but of church music. Have fun with it. Sounds like = they want to hear your chops. --Shirley Director of Music Ministries Upper Dublin Ev. Lutheran Church Ambler, Pennsylvania Soli Deo Gloria
(back) Subject: David Broome's website? From: <Wuxuzusu@aol.com> Date: Sat, 25 Jun 2005 12:08:55 EDT Greetings, Could some one email to me privately the business website address of = David Broome? Thank you, Stan Krider
(back) Subject: RE: David Broome's website? From: "Bill Wymond" <BillW@fpcjackson.org> Date: Sat, 25 Jun 2005 11:25:49 -0500 email@example.com -----Original Message----- From: firstname.lastname@example.org [mailto:email@example.com] On Behalf Of Wuxuzusu@aol.com Sent: Saturday, June 25, 2005 10:09 AM To: DIYAPASON-L@pipechat.org; PIPORG-L@LISTSERV.ALBANY.EDU; firstname.lastname@example.org; email@example.com Subject: David Broome's website? Greetings, Could some one email to me privately the business website address of David=20 Broome? Thank you, Stan Krider =20 ****************************************************************** "Pipe Up and Be Heard!" PipeChat: A discussion List for pipe/digital organs & related topics HOMEPAGE : http://www.pipechat.org List: mailto:firstname.lastname@example.org Administration: mailto:email@example.com List-Subscribe: <mailto:firstname.lastname@example.org> List-Digest: <mailto:email@example.com> List-Unsubscribe: <mailto:firstname.lastname@example.org>
(back) Subject: Audition? What Audition?? From: "Charlie Lester" <email@example.com> Date: Sat, 25 Jun 2005 10:12:27 -0700 =3D-> I won't start by saying "Audition ..... What Audition ?" Are so many folks all vying for a position that you can form a queue ? <-=3D That was precisely my thought. If anything, I think organists ought to be the ones doing the auditioning and not the other way 'round!! Here's a proposed line of interrogation just off the top of my head (additional submissions welcome, of course!): - Do you use a projector system? - Do you use canned music? - Will you be willing to replace the organ with one of my design? - Will anyone interfere with MY planning of the music? - Do I have to attend any meetings? - Are there any disturbed people I need to avoid? - Are there any wealthy people I need to suck up to? - Will I have full reign over the organ loft, deciding who gets access? - Will I be required to learn and play anything other than what I already know? - Will I ever have to play anything that will require breeaching my refined and educated good taste? - Will I ever have to use the tremulant, or the chimes? - Is there a discreet escape hatch from the organ loft so I can disappear during the sermon to go snitch a donut from the coffee hour spread and read the Sunday Times? - Do I have to answer to anyone other than myself? - How large is the music budget? - How much will I be making? How often will I be paid? - How often will I get raises? - How many vacation days do I get? - Do I get a reserved parking spot? - Do I get my own private office, computer, telephone, fax machine and xerox? And so on....... ~ C
(back) Subject: Re: David Broome's website? From: "David Scribner" <firstname.lastname@example.org> Date: Sat, 25 Jun 2005 12:28:51 -0500 At 12:08 PM -0400 6/25/05, Wuxuzusu@aol.com wrote: >Greetings, >Could some one email to me privately the business website address of = David >Broome? >Thank you, >Stan Krider If you are looking for something like this you should try the Links page for the American Institute of Organbuilders (http://www.pipeorgan.org). According to that page the web site address for David Broome is http://www.reedvoicers.com Hope this helps David Scribner AIO Webmaster
(back) Subject: MP3 file: Randy Runyon's Air for Trumpet From: "Jonathan Orwig" <email@example.com> Date: Sat, 25 Jun 2005 11:53:03 -0700 Hello folks... Now that choir is finally over and I am settling into summer, I am catching up on a number of demos and new releases for my site - please go and listen to Randy Runyon's Air for Trumpet http://evensongmusic.net/audio/RunyonTpt.mp3 (3.71mb) or http://evensongmusic.net/audio/LQ/RunyonTptLQ.mp3 (631kb for dial up = users) a sprightly little piece - and sight-readable, too! For those of you who might be interested, I'll have an order link for this later today or tomorrow Best wishes to all -- Jonathan Orwig Evensong Music, Media and Graphics New Organ and Choral Music http://www.evensongmusic.net
(back) Subject: Re: PipeChat music with harpobells/ audition recital From: <firstname.lastname@example.org> Date: Sat, 25 Jun 2005 16:52:58 -0400 >From: "Charlie Lester" <email@example.com> Thanks for the Stooge-a-rama segment. What a blast from the past. .... and well done. Have you thought of writing a cantata??? ;-) >From: "Randolph Runyon" <firstname.lastname@example.org> Hi Randy.... I just listened to your lovery Air for Trumpet played by Jonathan Orwig. Very nice piece. I can see it as a real congregation pleaser. http://evensongmusic.net/audio/RunyonTpt.mp3 (3.71mb) or http://evensongmusic.net/audio/LQ/RunyonTptLQ.mp3 (631kb for dial up users) The first piece that was used was "Sonata - Pastorale en Sol Majeur" by Giuseppe Burocco (which, I'm sure, is in EVERYONE'S library. Darn cute little piece, too. Interestingly, he also used the bells on a rather loud piece, "Allegro Maestoso" (you know that!!) ;-) which is the conclusion of Sonatina in Do Majeur by Felice Moretti. The bells were especially effective on the very conclusion that had alternating IV-V chords. This CD is probably available in the "dollar ben" at OHS: "Sonates Italiennes des 18 et 19 siecles" and is part of the series L'Orgue Italien, vols. I - III. As I think about using these bells (or harp) it might be fun to try this with portions of Bach's Prelude and Fugue in G For some reason I am unable to locate vol. II of this set, which I think has more bell pieces on it, but, anyway, just open your mind and put away all that you have been taught about good taste, stylistic integrity, and just each piece invididually, remembering, of course, that a little goes a long way!! Please keep us posted! >Subject: Audition: an hour >From: "Charles Peery" <email@example.com> >Suppose you were auditioning for a church job and you had to >play an hour recital as part of the process. EGAD! I hope this place is paying more than $250 a month for 5 choirs, handbells, concert series and six services, and 20 hours a week!! ;-) This might be one of those times when it would be very nice to play a program of pieces for the Liturgical Year. A few cute Christmas pieces, a couple of lenten weepers, the Widor toccata (possibly edited for "time's sake"), and then a group of prelude and postlude favorites. I'd use things like "Prayer" from the Gothic Suite (Boellman), Pachelbel Canon (can't remember who wrote it! snrk snrk), Air from the Water Music (Handel), some slow movements from sonatas by Mendelssohn, Rheinberger, Hindemith and others. Maybe a few pieces like Folk Tune and Chant Sans Paroles by Callahan, and some of Callahan and Gerald Near's wonderful chant pieces. Perhaps something cute from the little organ books of Dandrieu, Clerambault (Trompette in Dialog), or the Fugue on the Kyrie from the Mass for the Parishes (Couperin), as well as some of the flute, cromorne and tierce pieces. One of the most fun responses I've gotten was when I explained about the composition of the cornet and then played one of those neat little two or three part pieces that ends on an octave so that the beautiful in-tune major chord is demonstrated. I would play a couple of hymn-tune pieces (but not many) and use them with the hymns. I would imagine that one of the things they are trying to find out is (brace yourself) IF YOU PLAY TOO LOUD!!! I would go easy on big sounds and opt for beautiful. The Sowerby Carillon would be a wonderful audition piece. If they have chimes, definitely use them. And, be sure to use the entire organ (although not at once!). You might also do some explaining to them about pipe construction and shape, especially if there is anything exposed (Koppelflutes are sooooooooo cute!). Also, some of the turn of the century marches are nice pieces that have energy but are not necessarily LOUD! I think it would be important to include a couple of Frenchy toccata biggies, but I would edit them so that you give them a taste of what you can do, but don't have to get the entire piece under your fingers. Things like the Widor Toccata, Vierne Carillon de Westminster, Gigout Toccata are definietly crowd pleasers that are possibly expected at Christmas and Easter. If they ask for music for a wedding, be kind and given them a squooshy preformance of "Here comes..." and "there goes..." the bride. They might really appreciate it, although you might ask if there is policy on these pieces. I would avoid using too many chorale preludes based on modern hymns as they tend to be somewhat dull. Callahan's best pieces are totally HIS. My impression has so often been that the introduction is creative and beautiful but when the melody makes its unadorned, straight-forward entrance, it is often a let-down. Regarding the piano, it would be interesting to find a piece that works well on both organ and piano. Play is first on the organ and then say, "and then, if the electricity goes off, it could be played on the piano." yada yada yada Also a nice improvisation on organ and piano would really be impressive, provided that you use it to show off the piano or organ and not YOU, and remember two things that the improvisation should not be: LONG or LOUD! Goodest of luckes. Please share your programme with us.
(back) Subject: RE: Audition: an hour From: "Glenda" <firstname.lastname@example.org> Date: Sat, 25 Jun 2005 15:57:13 -0500 I cannot imagine a committee giving you an hour without specific instructions of what they, the members, want to hear. The auditions I have had described to me (I've never had to audition) involved their wanting to hear your hymn-playing, preludes, postludes, service music, special music, choir anthems and ability to sight-read. So if no direction was given, I'd ask for it in advance. What are they going to do - mark off points because you want to be prepared? Glenda Sutton email@example.com
(back) Subject: Re: Audition? What Audition?? From: <ProOrgo53@aol.com> Date: Sat, 25 Jun 2005 17:05:35 EDT In a message dated 6/25/2005 12:14:19 P.M. Central Standard Time, firstname.lastname@example.org writes: If anything, I think organists ought to be the ones doing the auditioning and not the other way 'round!! What a notable list of questions, Maestro! Your point of whom should be interviewing/auditioning who is well taken . = . .. and, seemingly, reasonable. However . . . perhaps you have much more *spine* than I; my strong inclination would be to ask some (if not all) of these questions = following an actual job offer by the church. My thinking is that even 1/3 of these questions = could stir enough *hornets* on a committee to render a person assertive enough = to ask these immediately ineligible. Dale G. Rider , MSacredMus, CAGO Organist, Composer, Music Engraver (Coda/Finale) Staff Organist Community of Christ (RLDS) World Headquarters Complex Independence, MO, USA
(back) Subject: A reasonable audition From: "Randy Terry" <email@example.com> Date: Sat, 25 Jun 2005 14:37:16 -0700 Well, let's face it - there should be a different set of expectations for = a parish organist vs. a cathedral or large church position. When I moved to CA for my interview with Christ Church, Los Altos, it was = a weekend-long event, which they flew me out for. Christ Church was a 3/4 time job with multiple aspects of work - administration (including a day spent as office manager and responsibility for the three different = booklets for the weekend liturgies.) I arrived on Saturday and was whisked to the choir retreat for an audition with the 30-voice choir. That lasted about an hour. I conducted/accompanied a rehearsal for them. That evening I was interviewed by the music (15 person + 2 priests) committee - that grilling lasted over an hour but was a broad-ranging discussion about almost the entire ministry of the parish and how I would fit into the various appropriate aspects of both the Children's ministry in general - as well = as junior choir, as well as concert series, adult, and handbell choirs. The audition (Sunday afternoon) at the organ consisted of me playing the Vaughan-Williams Rhosymedre, Vierne Finale from Symphony 1, a quiet improvisation (my choices) as well as a request session from the panel of various hymns which they then sung. Someone requested the Toccata & Fugue = in d Minor, which I played the Toccata only from memory. I then flew back to Alabama as sweated a week while the conducted two = other interviews and finally chose me. That was a *big* church interview, I think. The actual musical parts of the process were all very standard - nothing overly challenging - the hard part was the nerves facing a = well-read 30 voice choir for the first time. Other than that everything was very laid-back. Now, for my many other interviews, the organ playing was the least of it. In fact, when I asked one priest if he wanted me to play, he said "your reputation is enough," and I did not have a big one! Generally, there is = a long conversation - usually a committee, sometimes, not. With playing a prelude, offertory, postlude, a few hymns, and if the committee has = someone who knows anything they may hand an anthem to me to sight-read. AND - I ALWAYS interview them back - politely, and I have never faced any problem with my questions. After all, nobody really wants to hire someone and have them become unhappy. +++++++++++++++++++++++++++++ Randy Terry Music Minister The Episcopal Church of St. Peter Redwood City, California
(back) Subject: Re: Audition? What Audition?? From: <firstname.lastname@example.org> Date: Sat, 25 Jun 2005 17:16:37 -0700 ---- ProOrgo53@aol.com wrote: > In a message dated 6/25/2005 12:14:19 P.M. Central Standard Time, > email@example.com writes: > > Your point of whom should be interviewing/auditioning who is well taken = . . > . and, seemingly, reasonable. > > However . . . perhaps you have much more *spine* than I; my strong > inclination would be to ask some (if not all) of these questions = following an actual > job offer by the church. My thinking is that even 1/3 of these = questions could > stir enough *hornets* on a committee to render a person assertive = enough to > ask these immediately ineligible. And.... just one other observation: If questions stir the hornet's nest, perhaps that is a place one does not = wish to work. Early in my career (my first full-time position!) I made the mistake of = trying to tell a committee everything I thought they wanted to hear. They = reciprocated by telling me everything _I_ wanted to hear Yikes. As you might guess, within months both sides found out they had made a BAD = choice.. I didn't even know what to ask, but I should have said what I felt and = knew to be true rather than trying to present myself as the answer to all = of their problems. After that experience, I made a vow to always present myself to a = committee warts and all. I"ll ask any question I please, and answer = theirs honestly even if it costs me the job. I must admit I've probably = lost a few positions by doing so, but I sleep better at night, and I've = fit better in the subsequent positions I've taken. Being unafraid to ask = questions has also helped me weed out early in the process positions in = which I'd really not fit well. For example - sight-reading is not my strong suit... if I'm applying for a = position and find out the director loves to throw stuff at me at the last = minute, I'll politely decline interest. Same thing goes for = "auditions"... if they can't let me see what they want me to play in = advance, then no thanks. No pastor worth his or her salt would tolerate = being handed a text on the spot and asked to immediately preach a polished = sermon on it. (!) I also query pastors about their planning... if the church is non = lectionary-based for sermon topics, I want 3 to 6 months of sermon topics = in advance or assurance that it doesn't matter if the music doesn't go = with the sermon. These are just a couple examples... the churches who have found these = questions (and others like them) to be reasonable are the ones I work at. Folks, if you've not noticed, (in the USA at least) the ball is in our = court... there are TONS of churches looking for competent musicians, and = if you _ARE_ reasonably competent, easy to get along with (not a = prima-donna) know what you want (and are not afraid to ask for it!) you = can get a decent position. Cheers, -- Jonathan Orwig First Baptist Riverside, CA http://www.evensongmusic.net New Choral and Organ Music - sample mp3 and pdf files onsite > Dale G. Rider
(back) Subject: RE: Audition? What Audition?? From: "Glenda" <firstname.lastname@example.org> Date: Sat, 25 Jun 2005 20:40:16 -0500 Jonathan has made a good point. If you walk into an interview trying to give them what you think they want and thinking that if you get the job you'll do what you want, you are in for a heartbreak, and you have created black marks against your name with that church as reference for the next position. Honesty goes a long way. I was once on a committee to interview for a new priest. The candidate we chose answered all the pointed questions assuring us that his beliefs and practices paralleled that of the congregation. Well, he lied. He is still there, but the church is no longer a place of worship but a social club. The faithful and contributing group that was there has left seeking God's people elsewhere. The only ministry is obtaining a historical grant for keeping the church in its original condition and fighting the Baptists down the road whose church is growing and expanding. A church seeking a musician (or a minister) expects some newness, and indeed welcomes a chance for something fresh. However, they are not shopping for a revolution, and what they are looking for is someone who shares their beliefs, hopes and desires, not a renegade bent on having things his own way. Therefore, honesty on both sides makes the odds on a happy fit greater. Now one must always be prepared to navigate around the icebergs and perils found in every church, the holdouts that want it their way or no way. I assure you there is at least one in every church, and I believe it is required to have at least one for every 100 communicants. Sometimes that can be the former incumbent organist or a choir member. All I can say is you can't kill them unless you're in Texas. Glenda Sutton email@example.com
(back) Subject: What is a Pilcher Triaulephone ? From: <OrganNYC@aol.com> Date: Sun, 26 Jun 2005 00:32:34 EDT In 1931, Henry Pilcher's Sons of Louisville, Kentucky built a 3/27 organ = for the First Reformed Episcopal Church in New York City. The stoplist is typical of Pilcher organs from the era, including a Keraulophone on the = Choir, and a Clarinet Flute on the Swell. However, on the Great was found a stop = called "Triaulephone". I'm curious to learn if anyone might know how this stop was constructed, and/or what it sounded like? Are there extant examples of this stop? Complete specs on the Pilcher, the present 1993 Schantz, and a brief explanation how this denomination came into being, are found on the NYC = AGO website at http://nycago.org/Organs/html/FirstRefEpis.html. Steve Lawson - NYC
(back) Subject: Athens on Friday From: "John Foss" <firstname.lastname@example.org> Date: Sun, 26 Jun 2005 09:01:50 +0300 It is warm and sunny here in Greece at present, and if you happen by = chance to be taking your summer holidays in Greece this year and are in Athens = this Friday may I invite you to a recital at the German Evangelical Church at 8 = pm. The organ, a II/15 Steinmeyer, originally installed in the 1930's, was = rebuilt last year. It is in the west gallery of a building with pleasing acoustics. I shall be playing music by Sweelinck, Buxtehude, Clerambault, Bach, the Allegro and Scherzo from Vierne's second symphony and works by two young composers, a chorale prelude on "O Sacred Head Sore Wounded" by Jared = Grenz and "Toccata" by Jon Kristjan Fjellestad. There are not many organs in Greece, but there is plenty of sunshine! If = you are in town I should be happy to see you. John Foss http://www.organsandorganistsonline.com/ http://launch.groups.yahoo.com/group/orgofftop/ http://pieria.spark.net.gr/etimes/