PipeChat Digest #5189 - Tuesday, March 1, 2005 Re: Ancient Weingarten Abbey recordings by "Jim McFarland" <email@example.com> Re: Piece Search by <ProOrgo53@aol.com> Re: My recital from hell by "Robert Lind" <firstname.lastname@example.org> RE: My recital from hell by "Glenda" <email@example.com> Re: music list for Sunday, Feb 27 by "Robert Lind" <firstname.lastname@example.org> Re: music list for Sunday, Feb 27 by "Desiree'" <email@example.com> RE: PipeChat IRC this evening, by "Randy Terry" <firstname.lastname@example.org> Arias in Presidential Perspective by "Randolph Runyon" <email@example.com> Re: My recital from hell by <Myosotis51@aol.com> BWV 577 by <DERREINETOR@aol.com> Re: My recital from hell by <ProOrgo53@aol.com> Re: My recital from hell by "Bob Elms" <firstname.lastname@example.org>
(back) Subject: Re: Ancient Weingarten Abbey recordings From: "Jim McFarland" <email@example.com> Date: Mon, 28 Feb 2005 20:27:51 -0500 On Mon, 28 Feb 2005 23:17:54 +0100 Jarle Fagerheim <firstname.lastname@example.org> writes: > While looking for infos about the Weingarten organ, I stumbled over > this > German document: http://www.dra.de/dok_0704.htm. >Even if you can't read German, you may listen to recordings made in 1938 by Hermann Feifel! Here is a rough translation of the web page from our friends at babelfish. These are helpful, and sometimes humorous. (Try it with a Cavaille Coll stoplist sometime.) The results are outrageously funny. Jim The historical Gabler organ to wine garden in broadcast photographs from the year 1938 The organ of the Basilika pc. Martin and Oswald, built of Joseph Gabler in the years 1737 to 1750 The organ in the Basilika pc. Martin and Oswald to wine garden ranks with its 6890 whistles (conditions after the restoration 1983) among the largest and most important historical organs in Southern Germany. It was created by from ox living the coming organ farmer Joseph Gabler (1700-1771). Gabler learned first the occupation of the Carpenter and acquired themselves later its knowledge in the building of organs in Mainz. More details over its career/development is not well-known unfortunately. The organ in wine garden is Gablers second instrument. It created its first organ for the abbey of its hometown ox living. The building history of the Weingartener of instrument is complex and begins in the reason with the new building of the baroque Basilika in the years 1715 to 1724. The new church room should be naturally equipped with a representative organ. The monastery could not decide however for a long time, to which master of building of organs the order will assign should. Joseph Gabler had to place itself to a strong competition. The famous organ farmer Andreas silver man made of Strasbourg made his offer in the year 1720 as the first. Why it did not receive the order, is not to be clarified. In the year 1737 the at that time still unknown Joseph Gabler received the addition. The building of the organ was connected with many difficulties. After 13 years construction period the organ on 24 June 1750 was finally geweiht and taken in use. Gablers organ in wine garden represents a master achievement in two different regard: on the one hand in the harmonious integration of the instrument into the architecture of the church room and on the other hand in the mechanical control. The instrument has an absolute rarity a free standing play table - in that time. A technical piece of gloss is also the Kronpositiv, which seems to float approximately 10 meters over the play table, despite the fact that the wind supply for this partial work remained always problematic. Orgelbauerisch has the instrument in addition, weaknesses. Thus Gabler measured the mensuren of the whistles for the large church room much too close. The consequence is in - even in the "full work" - tender sound, which is able to hardly fill the area. In the course of the centuries the Gabler organ experienced numerous klangliche and technical changes. The most extensive modifications became in 20. Century made. 1912 received the organ a separate remote work with seven high pressure registers, in order to make the sound in the area more load-carrying. This serum phon work malfunctioned its service to 1944. Therefore one decided in the year 1953 to build a new auxiliary work. In the years 1981 to 1983 the Gabler organ was restored on the basis of denkmalpflegerischen criteria by the company Kuhn from Maennedorf in Switzerland and led back with few compromises to the original state from 1750. On 1 June 1938 the organist at that time to the Weingartener Basilika, for the realm transmitter Stuttgart works of Johann Sebastian brook brought Hermann in Feifel. These photographs rank among the oldest, which exist from the Weingartener Gabler organ. 12 shellac plates are received and in German broadcast archives at the location Wiesbaden are kept from this photograph row. Two photographs are exemplary presented here: Johann Sebastian brook (1685-1750) Praeludium e-Moll, BWV 533 (3'31) It is the welfare us comes, BWV 638 (1'30) Hermann Feifel, at the Gabler organ to wine garden Stocktaking date: 1. June 1938 The photographs document the condition of the organ after the fundamental interferences by the company Weigle in the year 1912. They are important certifications of the klangbilder of the organ changing in the course of the time and make themselves possible an interesting comparison with photographs, which developed after the interferences of 1953/54 and the restoration from 1981 to 1983. From the voluminoesen sound of the organ on the photographs from the year 1938 one should not be able to be been deceptive certainly. It is the result of the recording technology. Even with the most modern recording technology 21. Century can be caught the impression of the sound, which one has locally in the Basilika of the Gabler organ, only very with difficulty. And in such a way the attendance of an organ concert in the Basilika pc. Martin and Oswald is recommended to wine garden, in order to win a genuine impression of the sound of the famous Gabler organ. Left with resuming information: Arrangement of the organ Concert references to the homepage of the Pfarrgemeinde pc. Martin, wine garden German broadcast archives Document of the monthly July 2004 ------------------------------------------------------------------------- ------- Arrangement of the Gabler organ to wine garden Hauptwerk (I) Oberwerk (II) Kronpositiv (II) Praestant 16' Borduen 2-3fach 16' Octav doux 4' Principal 8' Principal 8' Viola 2fach 4' Piffaro 5-7fach 8' Coppel 8' Nasat 2 Tubingabated 8' Salicional 8' Cimbali 2fach 2' Octav 1 -2 4' Violoncell 1-3fach 8' Superoctav 2fach 2' Hollowabated 8' Hollowabated 2' Unda maris 8' Mixture 9-10fach 2' Mixture 9-12fach 4' Cimbalum twelvefold 1' Sequialter 8-9fach Trombetten 8' Echo work (III) Chest positive (IV) Main pedal Borduen 16' Principal doux 8' Contrabass 2fach 32' Principal 8' Douce abates 8' Subbass 32' Calm air 8' Violoncell 8' Octavbass 16' Quintatoen 8' Quintatoen 8' Violonbass 2fach 16' Viola douce 8' Tubingabated 4' Mixture bass 5-8fach 8' Octav 4' Transverseabated 4' Bombard 16' Hollowabated twelvefold 4' Travers 2fach abates 4' Trombone bass 16' Piffaro 2fach 4' Piffaro 5-6fach 4' Superoctav 2' Flageolet 2' Mixture 5-6fach 2' Cornet 8-11fach 2' Cornet 5-6fach 1' Vox humana 8' Hautbois 8' Hautbois 4' Chest pedal Serum phon work (1912) Nebenregister Quintatoenbass 16' Tuba mirabilis 8' Carillon f=B0-C ' ' ' (IV) Superoctavbass 8' Violin 8' Carillon C-g=B0 (P) Violoncellbass 8' Flute 8' La force 49fach (P) Douce bass abates 8' Hornprincipal 8' Tympano (P) Hollow abating bass 4' Fugara 8' Cymbalo Cornettbass 10-11fach 4' Covered 8' Cuculus Sesquialter 6-7fach Gambe 4' Rossignol Trombettbass 8' Ouples Bassoon bass 8' Tremulant (IV) Back to the document of the monthly July 2004
(back) Subject: Re: Piece Search From: <ProOrgo53@aol.com> Date: Mon, 28 Feb 2005 20:33:55 EST Gregory, I re-read your (first) email and now know you're questioning the Vierne, "Maestoso." No, what I'd have to offer would be a photocopy, I do not wish to give up = (yet) my original. Sorry. Dale Rider
(back) Subject: Re: My recital from hell From: "Robert Lind" <email@example.com> Date: Mon, 28 Feb 2005 19:41:57 -0600 A videographer in my church zoomed in on me, unbeknownst/unannounced, = during my postlude some weeks back. I was most unhappy and realized immediately = how pitcher Randy Johnson felt, just a few days earlier, when a TV cameraman came right at him the minute he stepped out of a cab in NYC. Randy was unkind to the person and apologized later. Frankly, I think the person operating the camera owed Randy an apology. I also remember being in a Bach-a-thon in Chicago's Cathedral of St. James in either 1982 or 1984 (I played both years and can't remember which time this happened) and a TV camera from one of the local stations came at me from behind the console as I was playing. Extremely unnerving. If this = sort of thing is to happen to performers, they should be forewarned. Robert Lind ----- Original Message ----- From: cc <firstname.lastname@example.org> To: PipeChat <email@example.com> Sent: Monday, February 28, 2005 5:39 PM Subject: Re: My recital from hell > What rudeness. I thought most photographers asked permission before taking > photos or videos. Maybe they don't HAVE to ask, but most of the ones = I've > run across are polite enough to do so. Apparantly this "mystery" > photographer wasn't. > > Carla C
(back) Subject: RE: My recital from hell From: "Glenda" <firstname.lastname@example.org> Date: Mon, 28 Feb 2005 19:36:33 -0600 Thanks for your responses in support. I woke up this morning at 3:00, angry all over again. I couldn't clear my mind to go back to sleep, so I tried to recall details of my playing, do a post-mortem. I couldn't remember more than a wisp or two. I thought to myself, I'll play it in my mind, and that way I will recall it. No - didn't work. All I could muster was an image of my hands around his throat. Rick is my harshest critic, and he said it sounded great. Everyone was so complimentary and enthusiastic, so they didn't notice my agitation or were much too kind to tell me so. I just wish I could remember the details. In the grocery store this afternoon I got mad again, thinking about my soon-to-be former boss and how she has not even communicated with me in a month, and has effectually isolated me. Then I thought how all this anger is wasted energy. God has actually answered my prayer in pointing me to the new chapter in life, and somehow he gave me the grace to get through the recital without disgracing myself. Scot, if I had a recital situation coming up, I would put in the programme and/or announce at the beginning of the recital: "<This recital is being recorded.> All <other> recording in any form of this event is strictly prohibited." I truly think in my case everyone in the room was as surprised as I was, too stunned to do anything about it. And I believe many of them thought he was there under some authority granted him by me or the church. I dispelled that pretty quickly, and marvel at my self-restraint. I should have feigned fainting, falling bodily on him and smashing his camera. If I had this happen again to me, I would probably stop at the beginning or in the middle of the piece and deal with him instead of letting him get so far under my skin that he ruined my equilibrium. Attempting to be a kinder, gentler Glenda was my own undoing. A lot of people seemed thrilled that I banished him - it made the whole thing more entertaining for them, if not for me. I guess I should watch more wrestling, take some boxing lessons. Glenda Sutton email@example.com -----Original Message----- From: firstname.lastname@example.org [mailto:email@example.com] On Behalf Of BlueeyedBear@aol.com this spring i'll be playing my first recital in over 10 years. such videographic horrors were unknown to me back then. i do plan to have my event videorecorded by a professional who also happens to be a choir member. after reading of glenda's nightmare experience, i think i'll post some bouncers, um... ushers in the narthex, just in case. anybody have more suggestions? i have no qualms about stopping the performance and tackling an intruder myself. in fact, that might draw a bigger audience at a subsequent event.
(back) Subject: Re: music list for Sunday, Feb 27 From: "Robert Lind" <firstname.lastname@example.org> Date: Mon, 28 Feb 2005 19:58:30 -0600 If the selections we play are unmemorable to us, can we expect anyone in = the congregation to be interested in what we're playing to the glory of God? What is a "Catholic Theme"? I was at the Roth-on-Fisk recital at St. Chrysostom's, Chicago, hoping to meet you, Desiree'. Keeping this in a Lenten mode, were you there? :-) Bob Lind ----- Original Message ----- From: Desiree' <email@example.com> To: PipeChat <firstname.lastname@example.org> Sent: Monday, February 28, 2005 1:54 AM Subject: Re: music list for Sunday, Feb 27 > Prelude- Selections from The Augsburg Library: Lent > (Titles escape me now...it's 1 AM monday) <snip> > Postlude: Improvisation on Catholic Theme
(back) Subject: Re: music list for Sunday, Feb 27 From: "Desiree'" <email@example.com> Date: Mon, 28 Feb 2005 18:03:38 -0800 (PST) I improvised upon a Chant Theme, more than a Catholic theme. Where Charity and Love Prevail, by Dom Paul Benoit. Actually, it could be both. No I was not at St. Chrysostoms. Other engagements took my tme. I wanted to be there badly, however. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
(back) Subject: RE: PipeChat IRC this evening, From: "Randy Terry" <firstname.lastname@example.org> Date: Mon, 28 Feb 2005 18:20:42 -0800 +++++++++++++++++++++++++++++ Randy Terry Music Minister The Episcopal Church of St. Peter Redwood City, California I am trying to connect to IRC. I seem to be able to create a #pipechat, = but not find the existing one everyone else is connected to~ Randy Terry
(back) Subject: Arias in Presidential Perspective From: "Randolph Runyon" <email@example.com> Date: Mon, 28 Feb 2005 21:25:12 -0500 Our recent discussion of arias put me in mind of how Leonard Bernstein came to write the song cycle "Arias and Barcarolles". I quote from http://www.bbc.co.uk/dna/h2g2/A1009225 "In an interview with the New York Times before the 1989 premiere of Arias and Barcarolles Bernstein explained where the title came from. Back in 1960 Bernstein had conducted a concert at the White House for President Dwight D Eisenhower, including a Mozart piano concerto and Gershwin's Rhapsody In Blue. Afterwards the President said to Bernstein, 'You know, I liked that last piece you played. It's got a theme. I like music with a theme, not all them arias and barcarolles'. Bernstein obviously enjoyed the phrase [or as Mike Nichols recalled, "he was beside himself" (cf. http://newyorkmetro.com/nymetro/movies/features/2306/index1.html)], and used it nearly 30 years later for this song cycle." Randy Runyon
(back) Subject: Re: My recital from hell From: <Myosotis51@aol.com> Date: Mon, 28 Feb 2005 22:12:56 EST Hello firstname.lastname@example.org, In reference to your comment: Thanks for your responses in support. I woke up this morning at 3:00, angry all over again. I couldn't clear my mind to go back to sleep, so I tried to recall details of my playing, do a post-mortem. I couldn't remember more than a wisp or two. I thought to myself, I'll play it in my mind, and that way I will recall it. No - didn't work. All I could muster was an image of my hands around his throat. ~~~~~~~~~~~~~~~~~~~~~~~~ (Playing Devil's Advocate) I'm willing to bet ONE person has a good record of your playing from the recital. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::flee Victoria
(back) Subject: BWV 577 From: <DERREINETOR@aol.com> Date: Mon, 28 Feb 2005 22:29:15 EST Dear List, Please excuse my Bach scholarship gap here, but I am curious as to the current disposition of BWV 577 (G major "Fugue a la Gigue"). I am aware = that it has been, for quite some time, considered spurious (though it is included in = the old Dupre edition, without prejudice) but does anyone know what the = current scholarship is on this piece? Has it been attributed to someone else? It = is certainly missing from the lovely newish Baerenreiter Urtext edition, = though that edition takes some pains to include works formerly attributed to J.S. = Bach. As an aside, it has often occurred to me that there is more than some similarity between the fugue subject of 577 and the subject (and treatment = thereof) of Buxtehude's "Gigue" fugue in C major, Bux WV 174, though I am not = suggesting that Buxtehude had anything to do with BWV 577. Perhaps both are simply more-or-less contemporaneous works of the Norddeutsche school. Any = thoughts? Pax, Bill H. SJE Boston
(back) Subject: Re: My recital from hell From: <ProOrgo53@aol.com> Date: Tue, 1 Mar 2005 00:14:23 EST Who know's . . . maybe a VHS audio/video will show up in the mail and Glenda will LOVE what she sees and hears!! We can give it a hope, = anyway!!!!
(back) Subject: Re: My recital from hell From: "Bob Elms" <email@example.com> Date: Tue, 1 Mar 2005 15:00:15 +0800 Surely those videoing a performance would need to have permission to video = any copyright music if sound is involved. From my position as President of = the local Eisteddfod Committee I know that Australian law does not permit the recording of copyright music without permission. My opinion is that the photographer in question should have been asked to leave by someone in authority. His action was rank discourtesy. Bob Elms. ----- Original Message ----- From: "Robert Lind" <firstname.lastname@example.org> To: "PipeChat" <email@example.com> Sent: Tuesday, March 01, 2005 9:41 AM Subject: Re: My recital from hell >A videographer in my church zoomed in on me, unbeknownst/unannounced, >during > my postlude some weeks back. I was most unhappy and realized immediately = > how > pitcher Randy Johnson felt, just a few days earlier, when a TV cameraman > came right at him the minute he stepped out of a cab in NYC. Randy was > unkind to the person and apologized later. Frankly, I think the person > operating the camera owed Randy an apology. > > -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 266.5.1 - Release Date: 27/02/2005