PipeChat Digest #5375 - Saturday, May 28, 2005
 
POLAND 4 (FINAL PART)  (LONG)
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Rodgers C220 Specifications (x-post)
  by "Jan S. Van Der Stad" <janvds@optonline.net>
Re: Glenda's gallery shooting
  by <RMB10@aol.com>
blown rectifier fuse
  by "Randy Terry" <randy_terry@hotmail.com>
Re: Glenda's gallery shooting
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
learning masterworks while a student
  by "Randy Terry" <randy_terry@hotmail.com>
Re: Tempo and the music of Bach
  by "Randy Terry" <randy_terry@hotmail.com>
Re: practice techniques -  Bach
  by "Randy Terry" <randy_terry@hotmail.com>
Bi-Vocational Organists (for Glenda and those who are)
  by "Desiree'" <nicemusica@yahoo.com>
Celestes unexpressed
  by <Devon3000@aol.com>
Re: learning masterworks while a student
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
 

(back) Subject: POLAND 4 (FINAL PART) (LONG) From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Sat, 28 May 2005 16:13:53 -0700 (PDT)   POLAND 4 9FINAL PART)   Hello,   Without living through it, it is impossible to know the unimaginable suffering that the Polish people endured during the war years, or the unimaginable grief they felt as much of their culture and history lay in ruins. Until someone writes the book, I expect we will never fully know how many priceless artifacts were lost in the insanity of war, but it would be reasonable to assume that many important historic churches and organs were reduced to rubble.   The following will illustrate the scale of the losses during WWII, which shows the monumental organ of St.Mary=92s, Gdansk, lost in a bombing raid:-   http://www.gdanskie-organy.com/organs.php?lang=3Den&loc=3Dstmary&tab=3Dgall= ery&sessionid=3Did1117233558367   Perhaps the ultimate irony was, that in rushing to defence of Poland, the exhausted allies sat idly by as Poland once more fell into the hands of foreign domination. Within a decade or so, Poland was to become part of that enormous, ruthless, Stalinist regime of the USSR; her government little more than a puppet theatre. The iron fist of communism effectively cut off communications and trade with the Western European countries and the rest of the world; save for essential trade.   When whole cities have been levelled by bombing, such as at Gdansk and Warsaw, any post-war Polish government, communist or not, would have to carry the burden of re-building a whole country. Although some historic cities, (of which Gdansk is a good example), were carefully re-constructed, the image of Eastern Europe towns remains one of grim utilitarian architecture and acres of glass and concrete; as it still does in certain areas of Western Europe.   A country which had ceased to exist circa.1790, and remained partitioned until 1919, never had the chance to regain a true national identity before the outbreak of WW2 and the occupation of the Nazi regime. Without getting bogged down in politics, it would probably be reasonable to suggest that communism never supported personal freedom, religious faith or any sense of national identity: all things being subjugated to the high command of atheistic Russian-style socialism. That said, education has always been valued by communism, even if this was accompanied by the propaganda of the one-party system.   As the USSR began to implode, it was in Poland and the former Czechoslovakia where the rumblings of unrest and political opposition gathered pace, and in that ground-swell of popular protest, Gdansk was once more at the centre of political activism and social upheaval with the formation of =93Solidarnosk=94 (Solidarity movement) headed by the man who would eventually become the first Prime Minister of an independent Poland, Lech Walesa. However, there was another focal point in the lives of the Polish people, in the form of Roman Catholicism, and with the Polish-born Pope John Paul II the head of the catholic church, there was a happy marriage of political and religious ideals which became strongly nationalistic, and gave the long-suffering Poles a sense of identity and destiny.   If the USA is considered a church-going nation, then it pales into insignificance as compared to Poland, where an estimated 87% of people are regular worshippers!   With independence and the virtual collapse of the former USSR, Poland had finally arrived on the world stage. In recent times, Poland has become a welcome addition to the European Union, and for the foreseeable future, now has the freedoms and democratic structures which should enable the Polish people to flourish in a way that has not been possible since 1790.   All the foregoing is critical to an understanding of Polish organ-building, the preservation (and neglect!) of historic instruments and the lurking legacy of Polish music. Music making has continued apace in Poland, in spite of everything, and the past has included the likes of Chopin and Penderewski, to name but two.   The strength of religion has ensured that the RC church is relatively rich in Poland, and a focal point of community life. With hundreds of new churches or rebuilt churches to make good the damages of war and to serve newer communities, the market for new organ building has been substantial and ongoing. This has sometimes meant restoration of older instruments with varying degrees of success, but largely, is has meant new organs in places of worship, educational establishments and concert halls.   In this final part, we can but scratch at the surface of what is a very large list of new instruments; a few of which have been imported, but the majority of which have been the work of established Polish organ-builders.   The Czech firm of Rieger-Kloss have done limited work in Poland, but nothing causes any great excitement.   On the other hand, the Eule organ-building firm have done work in Poland, and one of the finest is that at the Cathedral of St.John, Warsaw. This fine organ can be seen and heard at the following URL=92s:-   http://www.organy.art.pl/instrumenty.php?instr_id=3D165 (details of organ)   http://www.organy.net/jan/polski.html (mp3 files)   Another instrument, built by Schucke of Berlin, is to be found in the Filharmonia Narodowa, Warsaw (2001), with a strange organ-case.   http://www.organy.art.pl/instrumenty.php?instr_id=3D282   The Akademia Muzyczna im. Fryderyka Chopina (Chopin Academy), Warsaw, has a number of new organs, of which the largest is by E.F. Walcker - opus 5917, erected in the Sala Koncertowa.   http://www.organy.art.pl/instrumenty.php?instr_id=3D225   At Lublin is to be found a stunningly modern organ-front, which is worth looking at. Again, the organ is by Alexander Schuke of Potsdam, (SW of Berlin), built in 1997.   http://www.organy.art.pl/instrumenty.php?instr_id=3D578   At Krak=F3w can be found a new (1979) Rudolf von Beckerath organ with mechanical key-action and electro-pneumatic stop action at the Kosci=F3l MB Kr=F3lowej Polski (Arka Pana) w Nowej Hucie)   http://www.organy.art.pl/instrumenty.php?instr_id=3D78   Another imported organ with a startling modern case and a very beautiful console, is the Klais organ of the Filharmonia, Krakow, built in 1996 to replace an earlier organ by Schuke which was destroyed by fire. This organ is highly regarded in Poland.   http://www.organy.art.pl/instrumenty.php?instr_id=3D199   However, it is the indigenous Polish organ-builders to which we now turn, for these are organ-building concerns which do not trip off the tongue easily and are probably unknown by a majority of people outside Poland. That stated, it is quite difficult to get a clear view of Polish organ-building as it stands at the present, due in part to the language barrier, but also due to a lack of readily available information or well documented sources. Therefore, any corrections which listers can make would be very welcome!   One of the larger and best established firms was that of Biernacki, founded in 1829, who built or re-built a substantial number of organs in Poland. Investigation appears to show that the company ceased trading and closed as a result of insolvency sometime in the 1990=92s. Whether or not the company now trade under a different title, is unknown at the present time.   One of their later organs was the instrument of the Bazylika archikatedralna, L=F3dz, 1971.   http://www.organy.art.pl/instrumenty.php?instr_id=3D158   Another company very active in Poland has been that of Mollin, but at the time of writing, nothing much is known of the history or location of the firm. The Mollin firm were involved in the re-building of the large 5-manual instrument at Gdansk (Oliwa) Cathedral. They have built or re-built a substantial number of instruments in Poland, of which the following are examples:-   http://www.organy.art.pl/instrumenty.php?instr_id=3D162   http://www.organy.art.pl/instrumenty.php?instr_id=3D147   Perhaps the best know firm in Poland is that of Zych. The company was set up in 1967 by Jan Zych ( born 1935 ). IN 1967, he set up in business making parts for other builders, and especially windchests. The company developed slowly, but in 1975, the first new organ, with just 10 registers, left the small workshops. A new workshop was built to accommodate additional work. In 1982, Jan Zych=92s son, Dariusz Zych, joined the firm. He was a professional electronic-engineer, and he immediately set about developing electro-pneumatic action to replace the work done with pneumatic chests. Once more running out of workshop space, a new, larger one was built in 1984, following which, a large order for a new 38 register instrument was received. In 1989, the company were awarded the contract for the enlargement and re-building of the organ of Lowicz Cathedral; the work being completed a year later. It was here that Bach international organ festival was established almost as soon as the organ was completed. The reputation of the company soon spread, and in 1989 there came an order for a new 44 register instrument at Kielce; the work being completed in 1990. Once again, the firm were running out of psace, and an even larger workshop was built in 1996, but in the town of Wolomin.   With the political and economic changes in Poland, it was possible for the firm to make contact with companies outside Poland, and as a result, the firm were able to use the best tracker-actions in the building of new instruments. IN recent years, the firm have been able to gain new orders from outside Poland, including a new organ for Belorus, and one for South Korea.   Current work (?) includes All Saint=92s Church, Warsaw, with 65 registers, and the very large 156 register instrument at the Basilica of Lichen, nr.Konin, as well as a 71 register instrument in Warsaw.   In just 37 years, the firm have built or re-built 45 instruments, including 7 large re-builds and 6 restorations of antique instruments.   The Zych website is worth a look:-   http://www.zych.com/   There is something of a mystery surrounding the firm of Kaminskich of Warsaw, who appear to have done quite major work in recent years. It has not been possible thus far, to discover much about them, or whether the firm still exists. However, they have done some substantial work in Poland, of which the Church of St.Teresy od Dzieci=B9tka Jezus i =9Cw. Jana Bosco, =A3=F3d=9F, (1992) is a fine example:-   http://www.organy.art.pl/instrumenty.php?instr_id=3D14   The city of Wroclaw appears to be an important centre for organ-building, with many new or re-built organs having being completed in recent years. Of note are the following, all of which are by Polish organ builders with the exception of one new Sauer organ with a beautiful console:-   Wroc=B3aw Ko=9Cci=F3=B3 Ducha =8Cwi=EAtego   Organ built by J=F3zefa Cynara of Wroc=B3aw 1989.   http://www.organy.art.pl/instrumenty.php?instr_id=3D183   ------------- Wroc=B3aw Ko=9Cci=F3=B3 Matki Boskiej Bolesnej   Organ built by Czes=B3aw Chrobak of Synowie 1997   http://www.organy.art.pl/instrumenty.php?instr_id=3D445   -------------   Wroc=B3aw Ko=9Cci=F3=B3 Naj=9Cwi=EAtszego Zbawiciela (Wojszyce)   Organ built by Bracia Broszkowie of Boles=B3awca 1991   http://www.organy.art.pl/instrumenty.php?instr_id=3D449   -------------- Wroc=B3aw Liceum Muzyczne przy ulicy =A3owieckiej   Organ built by Sauer of Frankfurt1997-2001 (Opus 2270).   http://www.organy.art.pl/instrumenty.php?instr_id=3D432   --------------   Finding out at least something about the history of Polish organs has been fascinating, not simply because there is a whole organ culture awaiting discovery and which has been largely beyond reach until recently, but also due to the fact that there appears to be a reasonably healthy organ industry in existence.   Clearly, with good music education, some excellent organs, quite a number of organ-festivals and many old instruments badly in need of restoration or repair; the future looks bright for Polish organs and organists, now that Poland finally has independence and membership of the European Union.   "Solidarity forever! For the union makes us strong"   Regards,   Colin MItchell UK                                                                               __________________________________ Do you Yahoo!? Yahoo! Small Business - Try our new Resources site http://smallbusiness.yahoo.com/resources/  
(back) Subject: Rodgers C220 Specifications (x-post) From: "Jan S. Van Der Stad" <janvds@optonline.net> Date: Sat, 28 May 2005 19:17:31 -0400   Hello, Lists   If anyone has a copy of the specifications for the Rodgers C-220 Keyboard that they could send to me in a PDF file, I would greatly appreciate it.   Jan S. Van Der Stad    
(back) Subject: Re: Glenda's gallery shooting From: <RMB10@aol.com> Date: Sat, 28 May 2005 19:37:19 EDT   I think the front gallery at Peachtree Christian would do the trick, but = the console is an old Austin stop tab job, and the Pilcher organ it controls = is all enclosed in chambers on either side of the small gallery.   I subbed at Peachtree Christian once years back and it was a fairly formal =   service, in the style enjoyed by many Presbyterians or high-church = Baptists. They used to have a good music program, not sure how it is now, but I = would imagine that it's still fairly strong. I can't imagine that church = bending to contemporary music or happy-clappy trends. It's a traditional church that = used to sing the standards of choral music.   Monty Bennett  
(back) Subject: blown rectifier fuse From: "Randy Terry" <randy_terry@hotmail.com> Date: Sat, 28 May 2005 17:23:16 -0700   I had the same thing happen with the Astron from the 1990 organ at Trinity =   Church, Florence, AL. The thing blew the day before Easter during a rehearsal.   I replaced the fuse, and the same thing happened with smoke, etc.   The builder had a new rectifier sent to the church and instructed me to change it out, and we sent the old one back to the manufacturer, but never =   found out the diagnosis. The builder, Randall Dyer, had aparrently had a similar experience previously.   Once replaced, everything was perfect again with no ill effects. Except I =   had to play an electric keyboard for Easter!   Randy Terry   _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! =   http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/    
(back) Subject: Re: Glenda's gallery shooting From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Sat, 28 May 2005 17:38:29 -0700 (PDT)   Hello,   Is Glenda about to become an assassin? Have I missed something?   If it's just fiction, then I can tell Glenda that I was almost killed by a fast-moving projectile, and in strange circumstances.   I was riding a bicycle late one night, when I was "shot at," or so I thought. I was suddenly aware that something very hot, and very white, had just passed before me at impossible speed. There was a distinct crack as whatever it was hit something, and then the "zing" of a ricochet....it scared me to death.   I though about this for a very long time....I worked out the trajectory, I knew it was fast, I knew it could not have come from a rifle or a gun.....what on earth could it be?   I eventually came to the conclusion that it was a small meteorite which had somehow made it to ground level without being totally evaporated.   Now, had it hit me, I would not be here now and writing this. Instead, they would have found me lying in the road, with a hole through me.....a sort of harmonic dead organist..... no weapon, no assassin, no bullet, no motive.   Now how's that for a mystery?   Scary!!   Regards,   Colin Mitchell UK     __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com  
(back) Subject: learning masterworks while a student From: "Randy Terry" <randy_terry@hotmail.com> Date: Sat, 28 May 2005 17:40:54 -0700   There is a thread currently about studying a masterwork outside of the professor's instruction, and one list member gave wise encouragement to = hold off until you can study the work in question with your teacher.   I have made the mistake of pushing beyond my technical skills, and = usually, when I did get to the piece in question, I always suffered by having to unlearn things that either were incorrect or not to the teacher's liking.   On the other hand, I had a professor that had me learn the big Fantasia & Fugue in g Minor of Bach for my junior recital, and I just was not ready. = I was not happy with the performance. However, several years later I picked =   it back up and relearned it rather quickly and was quite happy with my progress, as I at least did not have negative habits to unlearn.   My advice is to choose a new piece that is close to the same difficulty level of one you already completed with your teacher. This way, you have the sense of pride of learning on your own, and you can integrate both teaching instruction and your own artistic sense at the same time.   Randy Terry :-)   _________________________________________________________________ Don=92t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/    
(back) Subject: Re: Tempo and the music of Bach From: "Randy Terry" <randy_terry@hotmail.com> Date: Sat, 28 May 2005 17:50:31 -0700       >From: Colin Mitchell <cmys13085@yahoo.co.uk> > >Hello, > >I have a general theory about Bach's organ music. It >should be played as slowly as a building will allow; >but obviously within reason.   I agree. I think that the technical facility of even modestly talented keyboard players of this day and age allows us to play too fast. I also think the horribly dead rooms many American church organs are located in encourages faster tempi than would be musical in even a modestly good acoustic.   I always consider myself as playing under tempo, so now, when performing something that I am in doubt of, I get a coach to listen. My last regular =   coach, Peter Stoltzfus, told me to hold back on the tempo of the Widor Toccata and the Bach Fugue a la Gigue. If I recall correctly, he told me the last section of the Bach Pastorale in F "sounded like a typewriter." = I HATE keyboardist who play with typwriter technical facility but make no music!   You can also get a good idea if you record your playing or the organ has record/playback, but nothing like a good friend listening - I always appreciate feedback from someone I trust!   Randy Terry   _________________________________________________________________ Is your PC infected? Get a FREE online computer virus scan from McAfee=AE Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3D3963    
(back) Subject: Re: practice techniques - Bach From: "Randy Terry" <randy_terry@hotmail.com> Date: Sat, 28 May 2005 17:59:42 -0700       >From: Desiree' <nicemusica@yahoo.com> >I learned from a masterclass once that one does not always have to start = at >the begining. That >was one of the most helpful comments ever. I do like >Tim Grenz's idea of a page at a time. I get >more covered learning one = page >at a time.   One of the best teaching techniques I ever got was from a teacher I did = not particularly like. She had me learn a page of the prelude and a page of = the fugue. Thus, within 4-6 weeks, I had the entire prelude and fugue learned =   and ready for polishing.   I have used this technique ever since. When left to my own, I will often dribble through an entire Prelude or Fugue at a slow, boring tempo, but = when forced to concentrate on only one or two pages, then not only do I get the =   pages learned, the tempos come along much faster.   Very wise advice!   Randy Terry   _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! =   http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/    
(back) Subject: Bi-Vocational Organists (for Glenda and those who are) From: "Desiree'" <nicemusica@yahoo.com> Date: Sat, 28 May 2005 18:53:58 -0700 (PDT)   Glenda, did you happen to catch Haig Mardirosian's "Vox Humana" in one of = the most recent TAO's? He talked about Organists who play as their = second careerm with the primary being as pilots, lawyers, etc.   Glenda <gksjd85@direcway.com> wrote:Thanks for your inquiry, Johan. I am a = bona fide attorney, having done some of almost all kinds of law except securities reg for 19 years (oh, my God - it will be 20 in October) in the hot state of Florida. I have three complete novels, if not completed, and the vestiges of a sequel. I leave them in the deep freeze for a while and go back to them, in order to try to find the glitches and gaps.   All three happen to involve organists. In two the protagonist is an organist/attorney, like me. But not me.   I haven't had the time or energy to look for an editor or an agent. Hell, I haven't found anyone willing to commit to read past chapter 1.   I have no organ degrees - am totally amateur. All my training has been through private lessons at retail value - 8+ years at piano, 6+ years at organ. I work at it, get quite good (relatively speaking), then forsake it, becoming quite bad. About the time I start to quit for good, someone asks me to do something like a church gig or a Pedals, Pipes and Pizza, and then I get hooked again. It doesn't pay as much an hour as the daytime job. But yes, I have been known to throw around the Bach and Franck with gusto.   I'm sure that's more than you wanted to know. Thanks.   Glenda Sutton gksjd85@direcway.com     -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org] On Behalf Of Johan Hermans Sent: Friday, May 27, 2005 6:29 PM To: PipeChat Subject: Re: Keates-Geissler in the South   Glenda,   do you have somewhere a list with your books ? And what's your main profession ? Just a few days ago you told us that you play quite difficult pieces such Bach's "St. Anne" and Franck/Choral I.             __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
(back) Subject: Celestes unexpressed From: <Devon3000@aol.com> Date: Sat, 28 May 2005 22:10:28 EDT   Hi all, The Austin/Allen (80 ranks Austin/40 Allen) at Christ Church of Oak Brook, = Illinois, has a celeste in the Antiphonal Great. It's really a = Spitzflute, Austin called it a Dolcan, and we now call it a Nitsua on the Allen = drawknob (the only celeste with two ranks on one knob. It has always been very = nice when used with the Choir celestes (slightly different spitzflutes) on the = other side of the room. Being able to shade one set of celestes gives the sound = a lot of expression, and the congregation is surrounded by beautiful sound. When we added the Italian "Principalino" in the Choir (digital), we also added its celeste, so this set is under expression. 16 ranks of celestes = is a heavenly sound, and I use many different varieties every service, = sometimes altogether (also 3 Voxes!). You can never have too much slush! As Dr. = William Barnes used to tell me, "It makes them sit back in the pew and purr!". When Bill was consulting on a Holtkamp organ, every time Walter would add = a Mixture, Bill would insist on another celeste stop, so he told me. Devon Hollingsworth, in DeKalb, Illinois  
(back) Subject: Re: learning masterworks while a student From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Sat, 28 May 2005 19:19:57 -0700 (PDT)   Hello,   I don't agree with this, but then, I've always been head-strong and something of a non-conformist!   Your teacher wants a Stanley Voluntary?   Pick up the Reger Fantasy!   I suppose it does matter HOW we learn, but it is important to remember that LEARNING and PROGRESS are what it is all about. So I guess there are alternative "life-styles" so to speak.   In many walks of life, including ski-jumping and motor-racing, there is a school of thought which is prepared to "give it a best shot" and to hell with the consequences.....some live, some die.   It is not so much "the error of our ways", but more "the way of our errors"....a much harder school of knocks then sheepishly, slavishly conforming to conventional wisdom.   Do we really need tutors when there is always some heel who is prepared to say, "That was the biggest load of crap I've ever heard!"   Like a rotting cabbage in the face, such comments do tend to clarify one's methods and artistic intentions!   At least I have the pleasure of knowing that I never had an organ or piano tutor prior to a Uni organ scholarship!   Regards,   Colin MItchell UK           __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com