PipeChat Digest #5243 - Tuesday, March 29, 2005 RE: Unsympathetic Restorations by "TheShieling" <TheShieling@xtra.co.nz> Audition requirements (long) by "Stephen Roberts" <firstname.lastname@example.org> Re: Audition requirements by "Stephen Roberts" <email@example.com> Re: Unsympathetic Restorations by "Colin Mitchell" <firstname.lastname@example.org> RE: Unsympathetic Restorations by "Colin Mitchell" <email@example.com> Re: Unsympathetic Restorations by "David Scribner" <firstname.lastname@example.org> Re: PipeChat Digest #5242 - 03/29/05 by "Nathan Smith" <email@example.com> You Have Come Down to the Lakeshore by "Emily Adams" <firstname.lastname@example.org> Re: You Have Come Down to the Lakeshore by "Randolph Runyon" <email@example.com> Re: Easter Service music by "Dr. Amy Fleming" <firstname.lastname@example.org> Quandry: Historic organs, historic buildings by <TubaMagna@aol.com> Re: Easter Service music by "Don McClure" <McClure@cc.admin.unt.edu> Re: Easter Service music by "Randolph Runyon" <email@example.com> RE: music for sunday after easter ??? by "Emmons, Paul" <PEMMONS@wcupa.edu> Service List, Plano, TX by "Benjamin A Kolodziej" <firstname.lastname@example.org>
(back) Subject: RE: Unsympathetic Restorations From: "TheShieling" <TheShieling@xtra.co.nz> Date: Tue, 29 Mar 2005 23:45:54 +1200 Colin, >I'm not a great organ historian; especially when it comes to theatre organs. However, I'm fairly certain that the Tower Ballroom Wurlitzer has not been added to, and remains as it was built with the exception of the ghastly tierce couplers I mentioned previously. Sorry, Colin, you're not right here. The first organ was a 2/8 but this = was replaced in 1935 by a 3/13. It is now a 3/14 and, as the following list of ranks shows, it was a second Tibia that was added. Diapason (bass diaphonic), Tibia Clausa 1, Tibia Clausa 2, Concert Flute, Violin, Violin Celeste, Solo String, Orchestral Oboe, Krumet, Kinura, Saxophone, English Horn, Harmonic Tuba, Tuba Mirabilis. >I think the unit tally is 14 ranks rather than 13, but there are conflicting claims. Nothing conflicting there, really. When J.W.Walker rebuilt the instrument they installed solid-state = circuitry, replacing the original stuff which was a combination of electric, = mechanical and pneumatic. Have the extra rank and the new action been acceptable? Probably not to = the purists. Adding a rank to a famous WurliTzer is no "better" in principle than adding a Mixture to an ordinary organ. But then, you see, both may be justified. >Now, regarding Alkmaar, [snip] The biggest change, and the one to which Ross may have been referring, was the entirely new 6 rks Mixture of the Groot-manual (Great), which replaced the much butchered original, which had been reduced to a 4 rk Cornet (?); possibly by the organ builder Witte. Aye, I think that was it. I didn't know (or had forgotten) that an = original Mixture stop had been butchered. >Of all the organs in Holland, this is certainly one of the best half-dozen, Way back in the 1960s, my friends and I used to regard this St Laurens = organ as the best, anywhere. I still have about half a dozen or more lp's of it from that time. Ross
(back) Subject: Audition requirements (long) From: "Stephen Roberts" <email@example.com> Date: Tue, 29 Mar 2005 04:12:01 -0800 (PST) Dear List: As a professor in a university with a growing organ class, I think that I = can speak a bit about audition requirements, at least as they are at = Western Connecticut State University where I teach organ. Someone asked if = standards had fallen in the past several years, and to that I say "well, = yes and no". There is no question that there are many fewer college organ = majors now than there were 20 years ago. At the same time I can say that = the best entering freshman organ students today are far better trained on = average than they were 40 years ago, when I began organ study. It is also = true that some prospective organ students today come in with a poorer = general piano backgrounds than they once had. Since college organ = departments are beating the bushes for students these days, some of the = latter category of students get accepted today, whereas 20 years ago they = would have been rejected. So in the case of auditions for undergraduates, = one has to be able to judge potential, as well as prior preparation. My university does not offer graduate degrees in = applied music performance, such as the M.M. degree, so I do not hear = auditions for graduate students. Personally I am glad for that, because I = believe that my own strong suit as a teacher is the development of a = student from a beginner (or relatively so) to an advanced player with a = good general understanding of the issues and questions of musical = performance. In my own case I generally try to identify young students that I would = like to have in my class some time before they actually audition for me. = That takes a lot of work and effort, but it has proven to be well worth = it. I stay in contact with prospective students, so I have been able to = observe the student's progress with another teacher over a substantial = period of time, albeit from a distance. I think that is far more = revealing than a single audition. By the time such a student auditions = for me, the actual audiiton is really only a formality. I have made my = decision long before the audition, and in many cases I tell the student = that to eliminate any anxiety. The student still must audition, however, = because it is a requirement to be accepted into our music department. I have a student in his early 20's who approached me last fall about = entering my class in this coming academic year, 2005-2006. I told that = student that I would teach him for two months for free in order to see = what kind of student he would be. People who know me well know that I am = rather plain spoken; I told this student that if I got a great student = from those two months of lessons, then it will have been a fine investment = of my time. If on the other hand I avoid a four year long headache, then = it will also have been worth it! :) That student had never studied organ = formally, though he had been a church "organist" from the age of 14. He = has a good piano background, and plays regularly in jazz combos and rock = bands. Like David Higgs, who also came to the organ from a popular music = background, I actually believe that such experience is a strength, not a = weakness. I taught this young man for free, because as I told him, I did = not want to be obligated to accept him in any way. The onus was then on him to make the kind of progress that I expect; he = has accepted that challenge and has done splendid work. He will audition = for us soon, and he will be accepted. A two month long audition may be = very unusual, but it certainly shows what kind of student this young man = will be. We do have general audition requirements, however, in terms of literature. = I require an Bach work that is not an arrangement and one other piece in = contrasting style, plus scales on the piano. As in the old days many = years ago, I also allow students to audition entirely on the piano, if = their interest in the organ seems strong enough, or their piano = preparation has been superior to their organ training heretofore. I do = not expect entering freshmen to be fine players already, though some of my = entering students certainly are. The emphasis is on potential, and most = importantly, on motivation. In my experience there are a lot more = students with some talent than there are students with the discipline to = learn to play at a high level. When I audition students, I am looking as = much at their motivations as I am at their present musical level. With = hard work, even a student of limited talent may learn to play quite well. = Raw talent counts for very little, if it remains undeveloped. It's hard work and the stamina and discipline for slow, meticulous = practice that produce excellent results.
(back) Subject: Re: Audition requirements From: "Stephen Roberts" <firstname.lastname@example.org> Date: Tue, 29 Mar 2005 04:25:33 -0800 (PST) Dear List, I realized after I sent my last posting on this topic that I had failed to = sign my posting. I apologize for any confusion that may have caused. Stephen Roberts Western Connecticut State University, Danbury, CT USA
(back) Subject: Re: Unsympathetic Restorations From: "Colin Mitchell" <email@example.com> Date: Tue, 29 Mar 2005 04:34:24 -0800 (PST) Hello, There are people who work with wood. A few of them carve a niche for themselves....people like Thomas Chippendale. Others made solid, beautifully made print-trays in oak, with superb dovetailing. Others make orange boxes. I feel sure that all of them probably served an apprenticeship of some sort. Now just because an organ-builder manages to make an organ which doesn't fall down, and which manages to sound a few notes in something resembling harmony, doesn't mean that what they create is necessarily musically worthy or has integrity. Although some organ-builders were and still are fine musicians, the overwhelming majority have not been especially skilled as organists. In musical terms, while many large instruments built say, between 1910 and 1940 had enough ranks to make for some sort of musical integrity, a great many smaller instruments were both ineffective and wasteful. Furthermore, the Anglo/American delight in duplications and extended ranks, did little to improve the musical situation; no matter how clever the tonal sleight of hand. Quite why anyone should wish to restore a 4-manual, 10 rank (non-theatre) instrument is beyond my comprehension, unless it happens to be utterly exceptional in some way. (I can think of a FEW Compton organs which may qualify, and I'm sure there are others) I can also think of a number of organs, such as they are, which were built with nothing beyond 16,8 & 4ft tone, and yet have maybe 30 or more ranks. Frankly, in such situations, I do not care whether such instruments are perceived by an organ-builder as worthy of restoration, because musically, they are a travesty. In some respects, we are fortunate in the UK, because very, very few instruments have survived unscathed from the pre-19th century, and most built during the period of the second half of the 19th century to the first half of the 20th century have been heavily revised; often to good effect. Thus, we are not duty-bound to "restore" things exactly, unless there are special reasons or circumstances. That said, in the evolution of exisiting instruments, it is vital to avoid the sort of absurdities which marred musical progress in the fashionable neo-baroque 1950's to 1970's. We all know examples of Harrison organs, (Skinner in America) where attempts have been made to add ferocious upperwork and French reeds, with often terrible results. Tonally, that is not organ-building at all.....it is organ destruction. There is much to commend the Dutch system, where specialist committees meet to decide the artistic merits of instruments, and then suggest ways in which restoration or re-building can be applied artistically. It shows that people care enough to worry about things, and then resolve to get the best possible result. Of course, in a country which abounds with historic instruments, it does mean that many churches feel obliged to have second organs installed!! As in all things, each organ needs to be assessed on its specific merits....the balance of historical, musical and artistic ideals. Anything less is a waste of time and an insult to the integrity of organ building, organ playing and organ listening. As for elctrifying Big Ben, I cannot speak with authority. However, they did dispense with the steam and electrify Tower Bridge. As for dropping a 5.7 litre (350 cu.in?) Chevy V8 into a Rolls-Royce, that probably wouldn't be such a bad thing! The 6.85 litre Rolls Royce V8 engine is a hideously dated piece of ironmongery: now replaced by the wonderful BMW V-12. I reckon that three small-bloc Chevy engines would last as long between them as the original Rolls V8....so what's the problem? Bring it on!! Regards, Colin MItchell UK --- Nathan Smith <firstname.lastname@example.org> wrote: > It is my life's work to preserve organs and > return them to their > original specification when possible. __________________________________ Do you Yahoo!? Yahoo! Small Business - Try our new resources site! http://smallbusiness.yahoo.com/resources/
(back) Subject: RE: Unsympathetic Restorations From: "Colin Mitchell" <email@example.com> Date: Tue, 29 Mar 2005 04:48:41 -0800 (PST) Hello, I'm going to be boiled alive for this, but it seems to me that most Wurlitzer organs were sort of hacked together from more or less stock parts, and thrown into the chambers!! Adding a second Tibia to the Tower Ballroom Wurlitzer at Blackppol means nothing.....just another stock part with a good musical use. At least Ross has solved the mystery of the 3/13 and the 3/14 descriptions given to this organ. It's only when later organ-building enthusiasts and tonal finishers have gone to work on a Wurlitzer, that something really special emerges, such as the Ed Stout masterpiece at Castro. As for J W Walker installing solid-state action at Blackpool, well that says it all. The original Wurlitzer actions were superb, but expensive to refurbish, with the curious combination of pneumatics and electrics. The bottom line must have been about money. Get an original Wurlitzer action sorted, and they are magnificent.....lightning fast and capable of very quick repetition. Of course, they weren't up to the quality of Compton......like I say, I'm going to be boiled alive!! Regards, Colin Mitchell UK --- TheShieling <TheShieling@xtra.co.nz> wrote: > Sorry, Colin, you're not right here. The first organ > was a 2/8 but this was > replaced in 1935 by a 3/13. It is now a 3/14 and, as > the following list of > ranks shows, it was a second Tibia that was added. > > When J.W.Walker rebuilt the instrument they > installed solid-state circuitry, > replacing....... > __________________________________ Do you Yahoo!? Yahoo! Small Business - Try our new resources site! http://smallbusiness.yahoo.com/resources/
(back) Subject: Re: Unsympathetic Restorations From: "David Scribner" <firstname.lastname@example.org> Date: Tue, 29 Mar 2005 06:59:04 -0600 At 7:50 PM -0500 3/28/05, Nathan Smith wrote: > > It is my life's work to preserve organs and return them to >their original specification when possible. So what would you do with the Newberry Memorial Organ at Yale University more commonly known as "The Woolsey Hall" organ? Remember, the EM Skinner organ of 1928 is not the "original" organ but a rebuild/enlargement of the previous organ which started life as a Hutchings-Votey in 1902 which was then rebuilt/enlarged by the Steere Company in 1915. Would you return it to the original specification of 1902? And i don't see that Ernest Skinner had any problems with taking the previous work and turning it into one of his own organs. I guess if it was OK for EM Skinner to do this then it should be OK for us to do the same today. And what would you do with a 1951 Aeolian-Skinner with a 4 manual console that had almost 1/2 of the stops on the console prepared for? Adding the "prepared for" stops today would be an alteration to the organ. So what would you do with it especially if the organ that was delivered wasn't really successful in the building? David
(back) Subject: Re: PipeChat Digest #5242 - 03/29/05 From: "Nathan Smith" <email@example.com> Date: Tue, 29 Mar 2005 08:00:52 -0500 >>That is the sort of thing I was thinking of, not the straw men you have set >>up to knock down. Since when are these "straw men" that I have knocked down? The organ reform movement most definitely occured. Furthermore, other modifications that I have mentioned, though emotionally charged as I presented them, occur to this very day! This is precisely what I am speaking of. We may be on separate wavelengths here... - Nate
(back) Subject: You Have Come Down to the Lakeshore From: "Emily Adams" <firstname.lastname@example.org> Date: Tue, 29 Mar 2005 08:03:19 -0500 Hi Chatters, I'd like to write a brief paragraph for my Sunday bulletin about this Spanish hymn composed by Cesareo Gabarain--but I can't locate anything = much about either the hymn or the composer by searching online. Can anyone = point me to a source? Thanks. Emily A.
(back) Subject: Re: You Have Come Down to the Lakeshore From: "Randolph Runyon" <email@example.com> Date: Tue, 29 Mar 2005 08:19:52 -0500 The New Century Hymnal appends the following note to this hymn: "One of the most popular hymns to emerge from the 1970s revival of religious songs in Spain, this text has been translated into nearly eighty languages. The Spanish composer-author was a parish priest known for his work among youth." Randy Runyon On Mar 29, 2005, at 8:03 AM, Emily Adams wrote: > Hi Chatters, > > I'd like to write a brief paragraph for my Sunday bulletin about this > Spanish hymn composed by Cesareo Gabarain--but I can't locate anything > much about either the hymn or the composer by searching online. Can > anyone point me to a source? Thanks. > > Emily A. > > ****************************************************************** > "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: Re: Easter Service music From: "Dr. Amy Fleming" <email@example.com> Date: Tue, 29 Mar 2005 09:42:06 -0600 Holy Trinity Lutheran- LCMS - Harrison, Arkansas "The Strife is O'er, the Battle Done" "At the Lamb's High Feast We Sing" Offertory - "Christ is Arisen" p187TLH - initially I thought this was difficult to sing but by the end of the week I was humming it in my head = :) "I Know that My Redeemer Lives" "Dear Christians One and All Rejoice" "Jesus Christ is Risen Today" Amy -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.8.4 - Release Date: 3/27/2005
(back) Subject: Quandry: Historic organs, historic buildings From: <TubaMagna@aol.com> Date: Tue, 29 Mar 2005 10:43:53 EST Before becoming an organbuilder, I earned my MS degree in Historic Preservation, specializing the the conservation science of building = materials and the restoration of historic ecclesiastical structures. I have worked with = fine art conservation, building conservation, and organ conservation. The quandry is that pipe organs, like buildings, are art that is USED, = usually over many decades or hundreds of years. Adaptive use is common in architecture, so we are relieved when a bank = building becomes a museum, an old mansion a cooking school, or an = abandoned library a ballet school. The new architect boldly puts their stamp on the = new building for a new use, for a later culture, in a different age, and it is = seen as a good thing. Painting and sculpture are easy enough to put into storage when tastes = change; we frequently find that art appreciation runs in cycles, or like = sine waves, and popularity will once again visit an artist or a mode after it = has forsaken them. But painting and sculpture are, for all intents and purposes, static. Their use is spiritual, and not viewed as practical. Buildings and pipe = organs must be touched and used for specific purposes on a regular basis, and = that is where the problem lies. On a case-by-case basis, things get very touchy. An organ may be inadequate for the new, ambitious music program of a new rabbi or rector, = and they may wish to expand or relocate an instrument to better serve their vision of = how worship is to take place within their community. Even more contentious are = issues of quality: age or "intactness" does not by any means make an = instrument good, desirable, or useful. We have all seen impeccably maintained organs = that were so dreadful that they really could not be useful or artistic in the production of any music from any period, regardless of the "who are we to = judge?" argument. The one thing that IS required is intelligence and thoughtfulness. If = you want to design a new organ, or redesign it, don't hire a "tech" whose specialty is electrical wiring, but has never played the organ, knows = nothing about tonal design, and nothing about music history. Hiring the local priest to design the organ, because they're an old friend and an "organ nut" will = get you in trouble, too. Make sure that any alteration is done for good reason -- practically, musically, and historically. If there is any doubt about the = importance of leaving the organ unaltered, consult somebody who really DOES know. You = may not like it, but it may be the ONLY example of its kind, and destroying it = would be a crime. You might leave it as is, and build a second organ = elsewhere in the building, if the clients are up to that kind of economic challenge. Sebastian M. Gluck New York City http://www.glucknewyork.com/ ..
(back) Subject: Re: Easter Service music From: "Don McClure" <McClure@cc.admin.unt.edu> Date: Tue, 29 Mar 2005 10:17:30 -0600 Music at St Andrews Church(Episcopal), Farmers Branch, TX (USA): Prelude: Rejoice! The Lord is King! (Flor Peeters/ arr D McClure) Introit: Acclamation for Easter Day (BCP 1928, Don McClure, cantor) Processional: Jesus Christ is Risen Today (Hymnal 1982, #207) bell descant by Dorcyle McClure Gradual: At the Lambs High Feast (Hymnal 1982, #174) Offertory: The Easter Song (Anne Herring) Arrangement, soprano, electronic keyboard by Dorcyle McClure with choir Eucharist Distribution: I am the Bread of Life (Hymnal 1982, #335) Recessional: The Strife is O'er (Hymnal 1982, #208) Brass and Bells descant Postlude: The Emperor's Fanfare (Antonio Soler/ arr. D McClure) The arrangements of Prelude/Postlude were intended to compensate for lack of independent pedal--only pedal stop is a mild 16' Subbass. Our instrument is a 2M/11R tracker, ca 1904--built by Clarence Morey, Utica NY (USA). Organ was relocated to St Andrews in the late 1980s through the efforts of two parishioners and our then-rector; re-installed by Gary Loper (Duncanville, TX) with minor repairs only. =20 The only significant limitation in this organ is one pedal voice, which = was not unusual for its day; otherwise, the instrument is bright, strongly voiced, well spoken. I see this organ as well-suited to=20 our building and usage for Mass; we expect continued long-term service=20 with only customary maintenance. Don W. McClure, PE Computing and Information Technology Center University of North Texas firstname.lastname@example.org and Organist Choirmaster, St Andrews Church (Episcopal) Farmers Branch, TX (USA)
(back) Subject: Re: Easter Service music From: "Randolph Runyon" <email@example.com> Date: Tue, 29 Mar 2005 11:33:34 -0500 Easter Sunday Zion Lutheran Hamilton, Ohio Prelude: Carillon de Westminster Louis Vierne Jesus Christ Is Risen Today (for bell choir) Douglas Wagner Hymn: Jesus Christ Is Risen Today Anthem: Rejoice, Our Lord Is Risen Today (words and music by yours truly) Hymn: The Strife Is O'er Offertory: The Trumpet Shall Sound (baritone solo, with trumpet) G. F. Handel Hymn: Thine Is the Glory Postlude: Toccata in F, from Organ Sym. no. 5 Charles-Marie Widor Randy Runyon
(back) Subject: RE: music for sunday after easter ??? From: "Emmons, Paul" <PEMMONS@wcupa.edu> Date: Tue, 29 Mar 2005 13:06:40 -0500 In my book, there's one and only ONE best piece for the First Sunday after Easter: The suite for Quasimodo by Charles Tournemire. It's one of his finest and deservedly best-known low masses in L'Orgue Mystique; and it would not be appropriate to play it on any other day in the year. It's First Sunday after Easter, do or die. I find it irresistible almost every year. (Quasimodo is the first word of the introit for this Sunday. Many Sundays in the liturgical year are, or used to be, known by the first word of the introit. It is no reference to the hunchback bellringer 'Quasimodo' in Victor Hugo's novel _Notre-Dame de Paris_. Rather, he got his name because as an infant he had been found abandoned on this day.)
(back) Subject: Service List, Plano, TX From: "Benjamin A Kolodziej" <firstname.lastname@example.org> Date: Tue, 29 Mar 2005 12:33:00 -0600 I am enjoying seeing what everybody else did for Easter, so I thought I'd share, too. Benjamin Kolodziej +++++++++ Lord of Life Lutheran Church, LCMS, Plano, TX Easter Sunday Prelude: "Praise the Lord with Drums and Cymbals" Sigfried Karg-Elert (arr. Thomas Brantigan) (Brass, organ, timpani) Processional: "Christ the Lord is Risen Today"--LLANFAIR (arr. for brass, = organ, timpani, etc., by James Biery and Jeremy Bankson) Kyrie: Sung/chanted as from Hymnal Supplement '98 Hymn of Praise: "Now All the Vault" LASST UNS ERFREUEN (arr. for brass = and organ by Michael Burkhardt) Psalmody: "I will sing to the Lord," for choir and congregation, arr. Victoria Frinsko Gospel Processional: "Fanfare for Easter," Lloyd Pfautsch (choir and = brass) Sermon Hymn: "Jesus Lives! The Victory's Won" JESU MEINE ZUVERSICHT (arr. for brass, timpani, organ, congregation and choir by me.) Offertory: "A Song for Easter Day," sung by Casey Anderson, soprano = choral scholar (by Hermann Kotzschmar [1829-1909] downloaded free from www.cpdl.org.) Hymns during communion: "At the Lamb's High Feast," "Draw Near and Take = the Body of the Lord," amongst others and the usual liturgy. Choral Amen: "Sevenfold Amen," John Stainer (We did his "God So Loved the = World" during Lent, so this was part of a theme!) Recessional Hymn: "Jesus Christ is Risen Today" EASTER HYMN (arr. for brass, timpani, organ, congregation, S/T descant by James Biery)