PipeChat Digest #5365 - Tuesday, May 24, 2005
Re: Noehren with "Chivas Regal 1/5"
  by "Beau Surratt" <surrattorg@gmail.com>
Durufle Requiem
  by "terry hicks" <Terrick@webtv.net>
Re: hymn text help (and alterations)
  by "jch" <opus1100@catoe.org>
Re: hymn text help (and alterations)
  by "Beau Surratt" <surrattorg@gmail.com>
This week's 1st mp3 - Steve Best's Processional in D
  by "Jonathan Orwig" <giwro@adelphia.net>
Re: Atlantic City Organs (long)
  by "Harry Martenas" <harry.martenas@gmail.com>
Re: Noehren with "Chivas Regal 1/5"
  by "Robert Lind" <lindr@core.com>
Carillon Questions
  by "Channing Ashbaugh" <channinga@carolina.rr.com>
Re: This week's 1st mp3 - Steve Best's Processional in D
  by "Stephen Best" <stevebest@usadatanet.net>
An organic spring weekend - Part 1 of God knows how many
  by "Glenda" <gksjd85@direcway.com>
Re: Felix Hell in Australia and Singapore
  by "Karl Moyer" <kmoyer@millersville.edu>
Re: Durufle Requiem - a question
  by <SWF12262@aol.com>
Re: Re: Felix Hell in Australia and Singapore
  by "Hell-Concerts@t-online.de" <Hell-Concerts@t-online.de>
Re: Speaking of Memorial Day
  by <Justinhartz@aol.com>
  by "Harry Grove" <musicman@cottagemusic.co.uk>
Re: Speaking of July 3rd...
  by <SWF12262@aol.com>

(back) Subject: Re: Noehren with "Chivas Regal 1/5" From: "Beau Surratt" <surrattorg@gmail.com> Date: Mon, 23 May 2005 17:53:37 -0500   Hi! I'm assuming, then, that this instrument is still in tact and playing? If so, I'd like to see if I could make arrangements to see/play it just becuase I've never met a Noehren organ in person. I understand that this one is not typical of his other instruments like the ones on his recordings, but I think it'd be interesting as a sort of educational experience.   Beau  
(back) Subject: Durufle Requiem From: "terry hicks" <Terrick@webtv.net> Date: Mon, 23 May 2005 15:58:27 -0700   Glenda,   For 24 singers, I'd use the organ rendition which was done by Maurice himself...you just need a VERY good organist. There is also a version with strings & organ; maybe even one instrument per part could work depending on the players & the acoustics you're working in. Also, I've done it with organ, trumpets, and tympani (bought the parts).   Don't feel that you need a large organ to carry off the work...just make intelligent substitution for stops he calls for but may not be on the instrument you're using. It's the effect of the sounds that is crucial. In college, I directed some fellow students in 2 performance at 2 different churches ....both small spaces. One had a modest 2 manual Flentrop, the other a 15 rank Hook & Hastings. The quality of the choral sound is what wil carry-the-day.    
(back) Subject: Re: hymn text help (and alterations) From: "jch" <opus1100@catoe.org> Date: Mon, 23 May 2005 17:57:22 -0500   At 12:27 PM 5/23/05, you wrote: >I cannot agree that the 'Sailor's Hymn', (Eternal Father, Strong to >save), be modified, altered, added to, or any other changes made to it.   I totally agree....having been a career sailor this hymn has great meaning =   to me in the original.   Jon      
(back) Subject: Re: hymn text help (and alterations) From: "Beau Surratt" <surrattorg@gmail.com> Date: Mon, 23 May 2005 18:03:01 -0500   Hi All! I think it is for the language reasons and sensitive issues all around on this hymn that the editors of The New Century Hymnal just left this one out and decided not to deal with it ! :)   Beau  
(back) Subject: This week's 1st mp3 - Steve Best's Processional in D From: "Jonathan Orwig" <giwro@adelphia.net> Date: Mon, 23 May 2005 16:30:46 -0700   Helllo, friends,   This week's 1st mp3 is Steve Best's Processional in D   http://evensongmusic.net/audio/SBestProcD.mp3 for 5+ mb HQ file http://evensongmusic.net/audio/SBestProcD.mp3 for 881kb LowQ (for dial-up users)   This is one of the movements of his "Three in D" suite   Enjoy!   -- Jonathan Orwig Evensong Music, Media and Graphics New Organ and Choral Music http://www.evensongmusic.net    
(back) Subject: Re: Atlantic City Organs (long) From: "Harry Martenas" <harry.martenas@gmail.com> Date: Mon, 23 May 2005 19:52:34 -0400   On 5/23/05, Nathan Smith <erzahler@sbcglobal.net> wrote: >=20 > I have nothing but respect for the various people who are working > together to bring the two Atlantic City Organs back to life.   Yes - the Atlantic City Convention Hall Organ Society (http://acchos.org/) should be admired - and supported. Some credit must also go to the owners of the facility, in providing the seed money - along with much blame for causing the organ to be silenced and damaged in the recent renovation   > The pair > of instruments have seen more hard times than just about any other > organ on earth   Well, not really. While unplayable, they are basically intact, and still housed in the building for which they were designed. Sad that more organs are not so situated.   > Why not fund the curatorships with the interest from this money?   $1.17 million, invested at an optimistic 5%, yields $58,500 annually. Considering USA employment costs (employer's share of social security, medicare, unemployment insurance, worker's compensation insurance, disability insurance, liability insurance), that would not pay for a single full time staff member with any degree of experience or expertise. And no materials.   > Even if the fund were to be depleted in order to fund > the curatorships, it would probably last a great many years.   If more than one curator would be funded, and a reasonable budget for supplies, the $1,170,000 would be exhaused in not much more than 5 years - certainly less than 10.   I assume those involved are talking about splitting the money between the instruments because $600,000 will go a long way towards getting the ballroom Kimball operational. Probably not enough, but at least a possibility.   The auditorium Midmer-Losh? If we want to hear it in our lifetimes, many more millions will be needed.   I admire your enthusiasm, and I know that many of us share it.  
(back) Subject: Re: Noehren with "Chivas Regal 1/5" From: "Robert Lind" <lindr@core.com> Date: Mon, 23 May 2005 19:34:26 -0500   Interestingly, Noehren did record on the St. Richard's organ. I was there, in fact, for the session. 'Twas the summer of 1964, and he recorded the Couperin Masses for the Lyrichord label. A few months later I accepted an invitation to play a recital there during Lent of 1965 and lived to tell = the tale.   If you want to play a Noehren in the Chicago area, why not the one at 1st Presbyterian, Deerfield? Built around the same time, larger, and easier on the ears.   Bob Lind   ----- Original Message ----- From: Beau Surratt <surrattorg@gmail.com> To: PipeChat <pipechat@pipechat.org> Sent: Monday, May 23, 2005 5:53 PM Subject: Re: Noehren with "Chivas Regal 1/5"     > Hi! > I'm assuming, then, that this instrument is still in tact and > playing? If so, I'd like to see if I could make arrangements to > see/play it just becuase I've never met a Noehren organ in person. I > understand that this one is not typical of his other instruments like > the ones on his recordings, but I think it'd be interesting as a sort > of educational experience. > > Beau    
(back) Subject: Carillon Questions From: "Channing Ashbaugh" <channinga@carolina.rr.com> Date: Mon, 23 May 2005 20:47:34 -0400     Hello everyone     I would like to talk to somone that knows about electronic carillons-I = have some carillon Questions my questions are:     1. I have a Disability called autism I have had a thought My thought is = Has an electronic carillon company ever thought about makeing a Symphonic carillon CD to do a fundraiseing for the reasearch for more information on =   Autism with some song requests from an autistic person of some songs they =   would like to see played on a symphonic carillon? 2. Has anyone ever thought of Makeing a music video DVD of someone playing = a symphonic carillon ? 3. Does someone know if there was a person with the Last Name of Maas that =   either worked for Maas Organ company or Maas Rowe- because I am wondering = if Maas is the last name of a person that worked for the Maas Organ company = or Maas Rowe? 4. Do electronic carillon companies like Maas Rowe or Schulmerich have a recording studio in the company that has a symphonic carillon keyboard in = it for recording the music? 5. Do the people who play the music on the symphonic carillon keyboards = at the Maas Rowe Company or Schulmerich play other instruments like an organ?     If you know the answers to the questions please e-mail me at channing28270@yahoo.com   channing    
(back) Subject: Re: This week's 1st mp3 - Steve Best's Processional in D From: "Stephen Best" <stevebest@usadatanet.net> Date: Mon, 23 May 2005 20:58:48 -0400   Thanks to Jonathan Orwig for making both the recording and score available. This piece was first performed just yesterday (May 22) by Dr. Allison Evans Henry in a recital given at Zion Episcopal Church in Rome, NY, in honor of the retirement of Carol Stack, who served as Zion's organist for 43 years. During her long tenure, Mrs. Stack was the moving force behind the purchase of a 37 rank Noack organ (see the December 1975 "Diapason" for a description) and a Baldwin concert grand piano, remarkable instruments for a small parish in Upstate New York. This great lady provides a wonderful example of how graciousness, warmth, and first rate musicianship can translate into miraculous achievement. The "Processional in D" was written for Mrs. Stack's retirement celebration and conceived to be effective on Zion's instrument, which, as an all-mechanical instrument, can be registered only by hand.   Steve Best in Utica, NY   Jonathan Orwig wrote:   >Hello, friends, > >This week's 1st mp3 is Steve Best's Processional in D > >http://evensongmusic.net/audio/SBestProcD.mp3 for 5+ mb HQ file >http://evensongmusic.net/audio/SBestProcD.mp3 for 881kb LowQ (for >dial-up users) > >This is one of the movements of his "Three in D" suite > > > >      
(back) Subject: An organic spring weekend - Part 1 of God knows how many From: "Glenda" <gksjd85@direcway.com> Date: Mon, 23 May 2005 20:34:38 -0500   An organic spring weekend     Well, Mother's Day came and went, and rake that I am, I was miles away from my mother. But I had precious little time to pursue organic activities in the last several months. I was slated to travel to Atlanta the weekend in September just following Hurricane Ivan's unwelcome arrival. (I just realized the other day that I've never disposed of all the jugs of distilled water in all the bathrooms and the kitchen.) Then again in January I had planned to go up and hear Jane Parker Smith, but again other responsibilities intervened. The Little Rock annual memorial recital came and went without me.   Well, the new job was going amazingly well, and I was constantly amazed at the plethora of clients, 1 to 2 new ones per week. People were calling from other states for me to represent them - where did they get my name? And the office manager appeared with a check every Friday, to my utter consternation. I was doing much better economically than I expected, and at least as well or a little better than my last job with the state.   This past week [pre-Mother's Day] was my first formal appearance in court since going into the firm. I had appeared with my partner a few times, mainly as cheerleader and note-taker/passer. I had several emergency matters that resolved without the need for the hearing. So I was making up for lost time by having court three days in a row. The first day I was so busy with new clients that I let my partner handle it without me. But the next two days I was up to bat, and God was gracious, allowing me to dispose of both matters favorably to my client. The second hearing was rather nasty, and I had to argue for the Court to go out on a limb and rule against the prevailing authority, all on the strength of some law professor's argument that the authority needed to be reviewed and modified. So I was nothing short of euphoric when the judge, well versed in the area of real property law, ruled in my favor.   I finally decided to plan a weekend getaway to listen to some organs. My friend Larry Douglas Embury, permanent resident organist at the Fox Theatre in Atlanta, had invited me up on several occasions. This weekend I discovered that Alan Morrison was going to play Spivey Hall, a room I really like. So I contacted Larry, ordered tickets and made my plans.   But in the meantime I visited the church where I am to sub as organist the end of May, experienced Mr. Jordaan in recital, and heard the two 'AGO kids' in recital as well as a preview of my friend's upcoming senior recital. Then I received an e-mail that Carlo Curley was coming to Fort Walton Beach to dedicate a new Allen digital instrument (I think a 325, but you know how I am with numbers). I had never heard him, so thought the time was ripe to correct that situation.   I dragged my dear friend Leon with me. But first we had to eat, a favorite secondary pasttime. He chose a neat little Korean restaurant in the middle of the small but rapidly growing town of Crestview. I cannot spell or pronounce the dish I had; he had something that sounded like bulgosi, and I had something else that also started with 'b', bussoum or something. But it was very tasty, with succulent tender thinly sliced steak and veggies in a slightly spicy (my choice) sauce. And the waitress brought out five little dishes of pickled delicacies: broccoli, seaweed, sprouts, zucchini, and spicy onion.   We drove down to Fort Walton to Trinity United Methodist Church. It started out as a rather small building that expanded and built a new sanctuary seating maybe 300. The room is assymmetrical, with the right side (as you face the altar) being shorter in width than the left. The 'swell' speakers face directly out and the positif across the room, on the left side across from where the choir sits, behind a tasteful screen. The great speakers are on a 10-foot high shelf in an alcove behind the great window and cross behind the altar.   The church had sustained roof damage during Hurricane Ivan. In fact, they were hampered in the installation of the new 3-manual organ by the delay in getting a crew to install a new roof. If one looked closely, one could see water marks on the wooden-beam A-framed ceiling from the damage. They were not able to have the organ installed and use it until Palm Sunday.   At this point I am picking up in my narrative over two weeks after the event. I could have sworn I had written more on the subject. However, no matter. We walked into the church and was informed that Mr. Curley would autograph our programs. There he sat, big as life, with colored markers making his curly-cues all over his programs. So we spoke to him briefly before making our way to our seats. Once inside we were met by Bill Dollarhide and Donny Monk of Dollarhide's Music, Pensacola, who installed the organ. We are all members of the same AGO chapter. They took us around and showed us the console and the various speakers, talking about the challenges the room presented. I could well believe it.   A friend of mine from DeFuniak made it to the recital. She is a member of the Methodist church that received the small bequest to replace its Hammond that came over with the ark. So she was interested in hearing what this Allen installation sounded like.   The recital began. Mr. Curley's program varied from what was stated on the autographed bulletin:   Londonderry Air (arr. Archer) Sinfonia, Cantata 29 - Bach (replacing the Grand Choeur in D, op. 18 - Guilmant, or, as Mr. Curley so fittingly put it, "a pleasure deferred") Aria in F - Handel, arr. Guilmant Concerto in A (3 movements) - Stanley Erbaum' dich mein, O Herre Gott, BWV 721 - Bach Toccata and Fugue in D minor, BWV 565 - Bach Meditation from "Thais' - Massenet, arr. Curley Concerto No. 4 in F: Allegro - Handel (Cadenza: Best-Dupre-Fox)   Intermission   A Surprise (arr. Curley) [Chant heroique by Langlais was discarded] Andante in F - Dussek, arr. Thalben-Ball Prelude and Fugue in g minor - Dupre (replacing Romance to the Evening Star from Tannhauser - Wagner, arr. Curley) To a Wild Rose - McDowell (replacing Marche Militaire - Saint-Saens, arr. Curley) Toccata on American Theme ('America' from West Side Story) - Stefan Lindbald   What did I think? Wellll . . . . . I did take two pages of notes. Let's see if I can read my own writing.   He spoke at the beginning, describing the first six pieces. He played the Londonderry Air in a rubato style, making one think he was improvising rather than playing someone's arrangement. He took great liberties with the rhythm in order to create the effect he wanted with the dynamics. This was an interesting and lush arrangement, something that he used to make great use of the swell and crescendo pedals.   I had not heard the Sinfonia in a while until this year. I still remember Michael Murray's recording where it ran away with lightning speed. Mr. Curley played it well, but it was not terribly crisp; it was a bit mushy and heavy on the pedals. He waved his hand several times as if conducting the organ, a practice I was to discover he was quite fond of (excuse my ending with a preposition - an intermittent cough still plagues me, cutting off oxygen to the gray matter). The number met with great aplomb from the audience.   The Handel showcased the softest stops and a very nicely balanced swell. The Stanley was played in true baroque fashion, the lento on 4' flutes. It was with the last movement of this that he pulled his 'birdcage' music box trick, using the music box (which sported an intricate bird call) to accompany the minuet. When it was over, he covered the cage with his hanky.   On the Bach chorale, which he termed 'the heartbeat chorale', he went 'beauty hunting', as he called it, for solo stops in the melody line. The number actually ended up exhibiting the various 'church prelude' sounds available, of which there were many, to convince the congregation that this was indeed a utilitarian instrument. The T&F ended up being a whimsical use of echos to show off more stops. The fortissimo was not overwhelming.   The Meditation was, you guessed it, very lush and romantic, much as I expected to hear that night, and he milked it to the end, throwing in a chime. The Handel used all the manuals; the cadenza was definitely out of Handel's league, but was fun nonetheless.   The intermission was used for more autographs, selling CDs and tours of the speakers. We moved to the left side for the second half, in order to experience the sound from another vantage. Actually, it sounded more full on the left side.   The 'surprise' was an opportunity for the congregation to sing a hymn - 'God of grace and God of glory' (tune Cwm Rhondda). The Dussek was a whimsical romp. I was sorry he dropped the Langlais, Wagner and Saint-Saens, but glad he played the Dupre. I was antsy by that time for some serious music. He was flamboyant with registration, not concerned at all with authenticity. I noticed that the attempted resultant did not seem to gel at the end. However, the swell seemed more reverberant. He took the fugue very fast, almost out of control.   The McDowell was a marked contrast, and very lovely in an understated way.   The piece d'resistance was the Lindbald (I think that's how he spelled it to us), well suited to a theatre organist with classical leanings. It was my favorite selection of the evening, although verging on freight train. Mr. Curley was never still, with lots of head and hand movement throughout.   The encore was Jeremiah Clark's festival trumpet tune.   By the time it was over, I was very dry. But there was no time for libations - I had to rush home to pack for my trip to Atlanta and type up an itinerary.   More later.   Glenda Sutton gksjd85@direcway.com          
(back) Subject: Re: Felix Hell in Australia and Singapore From: "Karl Moyer" <kmoyer@millersville.edu> Date: Mon, 23 May 2005 22:32:25 -0400   after a wonderful recital day yesterday, which we were blessed to be able t= o share with lots of friends in an almost packed chapel of the Lutheran Theological Seminary in Gettysburg,   I was obligated to something else and could not attend, but a friend wh= o did said that Herr Hell played brilliantly. :-)   Mit besten Gr=FC=DFen, Karl E. Moyer Lancaster PA  
(back) Subject: Re: Durufle Requiem - a question From: <SWF12262@aol.com> Date: Mon, 23 May 2005 23:16:36 EDT   Hi Glenda, I remember singing the Durufle Requiem back in 1981 or '82 when I was in = the Millar Chapel Choir at Northwestern University. To the best of my recollection, we used organ accompaniment (the chapel has a 99 or 100 rank = Skinner). Grigg Fountain was the director (a tremendously gifted choral conductor, organist, and organ teacher); I don't recall which organ grad. student = served as organist. It was a very moving and successful performance! Steve Steven Weyand Folkers Director of Music St. Lambert RC Church Skokie, IL USA  
(back) Subject: Re: Re: Felix Hell in Australia and Singapore From: "Hell-Concerts@t-online.de" <Hell-Concerts@t-online.de> Date: Tue, 24 May 2005 05:18:23 +0200   Frankly, I was skeptical regarding the program (incl. Bach's quite dangerous 6th Trio Sonata). In particular, when he decided to do the Liszt B-A-C-H on the Andover tracker. Anyway, as a 60-year-old guy, risking to be regarded a smart a.., I had no chance. But, when he decided to do the Liszt on his own, without a registrant/assistant (no pistons here, not to speak about memory levels) I was scared to death. When it was quite clear that I could not convince him, to use help for all kinds of stop changes, in that piece, I hoped - honestly - (please forgive me for my illwill!) that he would srew up. Well, you will probably guess the result. It was this adventure, which brought the audience on its feet. So, is it allowed to be a little bit proud????   Anyway, Felix would probably taking the - in the meantime empty - Merlot bottle and knock it on my head, if he would know what I'm writing here. But as he is somewhere in the air with Quantas, I don't care (this time!).   Have a good night.   Hans-Friedrich Hell             -----Original Message----- Date: Tue, 24 May 2005 04:32:25 +0200 Subject: Re: Felix Hell in Australia and Singapore From: Karl Moyer <kmoyer@millersville.edu> To: pipechat <pipechat@pipechat.org>   I was obligated to something else and could not attend, but a friend who did said that Herr Hell played brilliantly. :-)   Mit besten Gr=FC=DFen, Karl E. Moyer Lancaster PA          
(back) Subject: Re: Speaking of Memorial Day From: <Justinhartz@aol.com> Date: Tue, 24 May 2005 00:50:56 EDT   I work for (and am a member of) an Episcopal Church which "sticks by = the rules" when it comes to music and liturgy. Anything political or secular = is simply not allowed during Mass. We do, however, commemorate the sacrifices made by those who have = served their country. After the Mass, but before the closing voluntary, we have an eagle = scout process into the church with the American flag. Special prayers are said, = and we sing a patriotic hymn. This is performed in a dignified manner and = everyone seems to enjoy it, no matter what their individual views are on politics = or war. We did this last year on the Sundays closest to Memorial Day and Independence Day. Of course, the organ music was by Amreican composers!   Cheers,   Justin  
(back) Subject: i'M OFF TO SEE THE WIZARD ......... From: "Harry Grove" <musicman@cottagemusic.co.uk> Date: Tue, 24 May 2005 07:28:31 +0100   I'm off to see .... David Goode this evening at Birmingham's 'Symphony Hall'.   And for those interested ....   http://val.fancourt.users.btopenworld.com/davidgoode.htm   http://www.necgroup.co.uk/visitor/symphonyhall/symphonyorgan/   Harry Grove [a.k.a. a musicman following the Yellow Brick Road to Brum]    
(back) Subject: Re: Speaking of July 3rd... From: <SWF12262@aol.com> Date: Tue, 24 May 2005 03:36:41 EDT   Regarding American patriotic music, I have long felt that the North American continent and its riches are enormously generous gifts of God. The conquest of this territory and its =   acquisition represents a turning point in the history of our sphere. The = founding of the USA represents that point in history where people ceased being = subjugated and began determining their own destiny. I applaud any and all organists who program patriotic music for our = national holidays. Yes, the Church does exist outside of the secular calendar, as = it should -- but the Church also exists within the wider world -- as it = must! I believe we should appreciate, acknowledge, and observe this dichotomy = by programming some patriotic music at appropriate times in the year. Patriotism should not be just an assumed mantel on various occasions, but =   rather a continuous way of appreciating the blessings we've been given -- = an acknowledgement of freedom of religion (or freedom from), freedom of expression, freedom to worship as our conscience guides us. Patriotism is = and should be a celebration of all those trite stereotypes -- Mom, hot dogs, apple = pie, fire works, and Old Glory. Patriotism also is, and should be, the humble =   acknowledgement that we exist and thrive as a nation by the grace of God Almighty. Let our music reflect this! Long live the USA! Steven Weyand Folkers Compatriot, Sons of the American Revolution Director of Music St. Lambert RC Church Skokie, IL USA