PipeChat Digest #5377 - Monday, May 30, 2005 Re: Practicing organ works at the piano by "John Foss" <email@example.com> Tempo of Bach works by "Johan Hermans" <firstname.lastname@example.org> Unpaired celestes by "Paul Opel" <email@example.com> Re: blown rectifier fuse by "Daniel Hopkins" <firstname.lastname@example.org> Practicing organ works at the piano by "Keith Zimmerman" <email@example.com> 3 ranks celestes, was Unpaired celestes by "Randy Terry" <firstname.lastname@example.org> Re: Practicing organ works at the piano by "Desiree'" <email@example.com> Re: Unpaired celestes by <DarrylbytheSea@aol.com> Re: blown rectifier fuse by "Jan Nijhuis" <firstname.lastname@example.org> A Memorial Day weekend to remember by "Glenda" <email@example.com> Sunday Selections - The Series (?) (xpost) by "John Seboldt" <firstname.lastname@example.org> help... need a fanfare intro by "Andy Lawrence" <email@example.com>
(back) Subject: Re: Practicing organ works at the piano From: "John Foss" <firstname.lastname@example.org> Date: Sun, 29 May 2005 13:04:42 +0300 Desire at email@example.com wrote : Subject: Practicing organ works at = the piano - "Anyone else like to learn organ pieces at the piano?" Yes - I do. I didn't when I was a kid - only the organ would keep me happy = - but my teacher at college, Ralph Downes, used to advocate practice on the piano, and he put what he preached into practice, having a pedalboard attached to his piano in his home. So I learned all the major and minor = and scales on the piano - in a week - he was quite demanding - and since then = I have tried to divide my practice time equally between piano and organ. In fact I spent several hours last week practising the Bach Prelude and Fugue in B minor, which Desiree also brought up for discussion, on the piano. It gives me a good chance for a shameless plug - I am looking = forward to playing this on the 1740 Wagner organ in Nidaros Cathedral on July 24th = in the Lunch Time recital there - If you happen by chance to be in = Trondheim on the 24th and 25th of July do drop in. One recital on each organ on consecutive days - I have to thank the Norwegian Young Organists = Association for organising this and other events! Oh yes - I do an equal amount of work on the organ. You need balance - but = you can practise legato and phrasing on the piano as well as the organ, so = I have to disagree with Alicia Zeilenga, who wrote "Usually trying Bach on = the piano just makes for messy articulation later on." In fact, practising on the piano gives you greater control over your fingers, and consequently attack and release, and thus phrasing. The fascinating think about the P & F in B minor is that it works at = several different tempos. Each time I play it I find something new in the music. E = Power Biggs takes it at quite a lick - it works. I have been playing it = both slow and quick. Certainly from a learning point of view, slow is better. Music is appreciated at three main levels - aural, emotional and intellectual. But you achieve the deepest emotional experience from satisfying the intellectual one, which means work! Hearing in your mind Bach's musical creativitiy - the rhythmic interweaving and juxtaposition = of musical ideas in harmony and counterpoint - is a rewarding musical experience. There may be an ideal tempo at a certain time and place - but this does not remain constant. John Foss http://www.organsandorganistsonline.com/ http://launch.groups.yahoo.com/group/orgofftop/ The European Constitution - "oui ou non?"
(back) Subject: Tempo of Bach works From: "Johan Hermans" <firstname.lastname@example.org> Date: Sun, 29 May 2005 13:27:53 +0200 John Foss writes : "Hearing in your mind Bach's musical creativitiy - the rhythmic interweaving and juxtaposition = of musical ideas in harmony and counterpoint - is a rewarding musical experience. There may be an ideal tempo at a certain time and place - but this does not remain constant". I totally agree with it ! By the way, I have during many years spent some of my practice time for learning organ pieces at the piano and found it a very useful experience. Since I have a good practice-organ at home, I choose for the organ of course. Johan Hermans - Belgium
(back) Subject: Unpaired celestes From: "Paul Opel" <email@example.com> Date: Sun, 29 May 2005 07:05:54 -0500 A slightly different topic- on a large 1920's Austin in and Episcopal church in Troy, NY, I recall there being 5 strings on the swell- as I remember, a Gamba and celeste, a viola and celeste, and another-just labeled "celeste"- meant to wiggle with everything else. Was Austin unique in providing such a stop? Paul Opel http://www.sover.net/~popel/agomain.html
(back) Subject: Re: blown rectifier fuse From: "Daniel Hopkins" <firstname.lastname@example.org> Date: Sun, 29 May 2005 10:03:43 -0300 > This works every time. If your rectifier quits and you have an = important > service or recital, just go out to your car and get the battery. If the > organ has any solid state be very careful to get the + and - the right = way > around. > > John Speller> Easy fix if you dont have one of the modern day cars that have the battery = hidden in such a place that half the car would have to be disassembled to get it out. Excellent idea though. Danielwh
(back) Subject: Practicing organ works at the piano From: "Keith Zimmerman" <email@example.com> Date: Sun, 29 May 2005 14:20:16 -0400 Pipechatters, I've practiced a few pieces on the piano in anticipation of performing them on the organ. Presently, this is by necessity since I do not have ready access to an organ. My pipe organ project is still in many pieces. = I could probably get permission to practice the Rodgers at the church I left two years ago. The first organ piece for which I spent the most time at the piano was the Widor Toccata. My sister-in-law wanted it played as the recessional at = her wedding. IMHO, most of the work of this piece is in getting the notes correct with the hands. When I got to the organ, most of the ironing out = of notes was done. It then was a matter of getting the footwork right and working on the "interpretation" of the piece. More recently, I started working on the Vivace (movement 4) of = Mendelssohn's Sonata #1, Opus 65. I've been practicing on an old Clavinova. Actually, = I have been practicing this piece using a method that, if my memory serves = me correctly, was advocated by Bud a while back. That is, practice each measure or short phrase until it's down before moving on. So often, I've just "crashed through" pieces many times in practice, occasionally = stopping to iron out difficult sections. It's too easy to correct only the glaring errors that way. It appear to take longer the measure-by-measure way, but = I think it leads to a better knowledge of the piece - from a technical standpoint. The part I find difficult - being mainly a pianist who loves the organ - = is that I find myself playing the piece as a piano piece. It's difficult to refrain from applying the accents on the proper beats as one would do on = the piano playing piano music. I realize that accents are handled differently on the organ, since striking the key harder doesn't cause any accent. = Piano notes decay unlike those on the organ, and one cannot rely on the damper pedal for help. It's also difficult to practice an organ piece on the piano if the piece calls for the hands to be on different manuals AND has the two parts crossing or overlapping. This occurs near the end of the 2nd movement of the abovementioned Mendelssohn Sonata. Thanks, Keith -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.322 / Virus Database: 267.2.0 - Release Date: 5/27/2005
(back) Subject: 3 ranks celestes, was Unpaired celestes From: "Randy Terry" <firstname.lastname@example.org> Date: Sun, 29 May 2005 12:49:09 -0700 Austin often employed three rank celestes in the echo divisions during the = 20's - flat, unison, and sharp tuned ranks. Perhaps the extra rank that = you are speaking of was one of those. Alternatively, perhaps it was = originally unison, but a later musician had it tuned as a celeste. Randy Terry >From: Paul Opel <email@example.com> >A slightly different topic- on a large 1920's Austin in and Episcopal >church in Troy, NY, I recall there being 5 strings on the swell- as I >remember, a Gamba and celeste, a viola and celeste, and another-just >labeled "celeste"- meant to wiggle with everything else. Was Austin = unique >in providing such a stop? _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! = http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
(back) Subject: Re: Practicing organ works at the piano From: "Desiree'" <firstname.lastname@example.org> Date: Sun, 29 May 2005 13:12:44 -0700 (PDT) I prefer to learn all my pieces at the piano. It helps technically. Bud's suggestion of practicing in phrases is very good. My first teacher = taught me to do that. She told me abotu how Saint-Seans and Virgil would = sit for an hour or longer on a short phrase or a few measures. I like to = learn a page or two of a work a week, slowly, getting it ironed out, then = piecing it together. I target those hard places especially. If I see that = measures 10-17 are fine, but measures 19 thru 21 are just taxing, i will = spend lots of time slowly repeating three measures. "Crash learning" just = does nothing for me. The very talented Kraig Scott of Walla Walla College told me during his = interview visit luncheon at my previous university, that when I was = getting ready to learn Litanies...to go to the last two pages.I did that = and had it ready in a few weeks. eh mentioned that you don't alkways have = to start...at the bbeginning. He stated that often the best way to learn = the masterworks is to go backwards, or from the middle. A friend of mine = learn the Franck A Minor tht way and played it almost from memory, note = for note for her Sr Recital. She started at a random place in the adagio. Good feedback on learning ! Its nice to see how others learn the works for = our instrument TDH --------------------------------- Discover Yahoo! Use Yahoo! to plan a weekend, have fun online & more. Check it out!
(back) Subject: Re: Unpaired celestes From: <DarrylbytheSea@aol.com> Date: Sun, 29 May 2005 19:07:38 EDT In a message dated 5/29/2005 8:12:44 AM Central Standard Time, email@example.com writes: and another-just labeled "celeste"- meant to wiggle with everything else. Was Austin = unique in providing such a stop? Hi, Y'all! I remember Holtkamp does/did the same thing. They would have a flute or = some sort and a gamba (or some string stop), and then have a stop called "celeste" which would "wiggle" with either the flute or the string. I = don't know if it was a common thing for them to do, and if Chris continues to do it, but = I do know I have seen it on several Holtkamps. Yours, Darryl
(back) Subject: Re: blown rectifier fuse From: "Jan Nijhuis" <firstname.lastname@example.org> Date: Sun, 29 May 2005 19:19:11 -0700 Actually I think it's a bad idea unless you're planning on putting in a fuse of some sort between the battery and the organ ... I wouldn't want 750 cranking amps forced through a circuit that _was_ protected by a tripped breaker or a blown fuse. It's a generally accepted good idea to keep the "magic smoke" _inside_ the electronics. Whoever comes out to do the repair later might like the paycheck after the job though. On 5/29/05, Daniel Hopkins <email@example.com> wrote: =20 > > This works every time. If your rectifier quits and you have an importa= nt > > service or recital, just go out to your car and get the battery. If th= e > > organ has any solid state be very careful to get the + and - the right = way > > around. > > > > John Speller> > Easy fix if you dont have one of the modern day cars that have the batter= y > hidden in such a place that half the car would have to be disassembled to > get it out. > Excellent idea though. > Danielwh --=20 Jan Nijhuis firstname.lastname@example.org
(back) Subject: A Memorial Day weekend to remember From: "Glenda" <email@example.com> Date: Sun, 29 May 2005 20:43:32 -0500 A Memorial Day weekend to remember Well, I must tell you that my RC gig this weekend, all three services, was the most fun and seamless job as a substitute I have ever had. Yes, they work you hard and get their money's worth, but everything went surprisingly well, considering the challenges. This is a beautiful church, the oldest and prettiest church in Pensacola. There are three altars in front, all gorgeous. The floors in the altar area are marble, under the pews are hardwood, and in the aisles are tiled in attractive patterns. There are wooden arches reaching to the high ceilings, beautiful stained-glass windows from Bavaria, and stations of the cross to die for (actually high-relief sculptures - the story is that they were Italian, and were originally beautifully painted figures that were later "marbled over"). I had two different cantors, one for Saturday, and one for the two Sunday services. The organ wasn't great, but I've played much worse. I looked for a name plate, because David Scribner and I discussed what the original organ was. No name plate. The console started out as a tracker (this information from the incumbent, and which is why I ran out of notes), but a radiating concave pedalboard replaced whatever had been there. The stoplist is described briefly at http://www.pensacola-ago.org/organs/stmikpns.html. The divisions were free-standing, flanking a round front window of St. Michael, the patron. This was not a guy, gay or straight - that was the face of a woman. I know - we stared at each other through three services. I don't know what that says about Michael - must have been one hell of an angel, and no wonder (s)he was chosen to battle the Beast. When I visited the church and Carol, the incumbent, walked me through the service, I took notes. I also sat through a couple of service. I had to watch for the individual stylistic differences of the priests who were celebrating. Because the roof was being replaced, there was bisqueen draped over the top of the facade pipes to prevent dust and plaster from falling into the pipes. The organ technician had 'loosened the touch' because of Carol's severe arthritis, which actually made it harder to play because there was so little resistance, and one had to be careful not to clatter all over the place. Also, she pulled out a small hammer to show me. I remarked, "Surely the neighborhood isn't so bad you have to beat off marauders during services!" She replied, "No," and proceeded to beat the B-flat in the last octave of the pedal into place with it. Apparently it slips out of place quite often (which I was privileged to experience, but became quite adept at quickly kicking it back into place), and the technician had not fixed it. The last crowning touch was two small rear-view mirrors, one on either side of the console. Anyway, I left home Saturday to make it to the church around 2:00, which was earlier that I expected. On the way my niece called, planning a family get-together for Sunday. I told her that (1) my house and yard were a disaster, even for family, and (2) I wouldn't be back in town after church until 1:30 or 2:00 Sunday afternoon. However, the church and yard were locked up tight, so I sat in my car figuring out my intros to the service music and making calls to all the family to plan our Sunday afternoon soiree, at the niece's house (hey, it was her idea to have the party). Finally the dear altar guild lady who had hung around that Sunday I was practicing (no doubt afraid I was going to steal some wafers and wine) showed up. She let me in. Next challenge: the door to the organ/choir loft in the rear gallery was locked. She didn't have a key, the sacristan had taken the weekend off also, and the priest didn't generally make it to church until ten minutes before the service. She found a key ring full of keys and gave them to me to try. By this time I, being off my niceness pills, was determined to make one work. None did, but the last key I tried fit in the hole. There was enough play in the knob that I either made the key work or jimmied the lock, but made it in into the loft and did not have to construct scaffolding and climb up. I turned on the organ, and the key to the console promptly fell out and went skittering under the pedalboard. Great, I thought. So I spent some time peering into the darkness until I finally located the key. The next challenge was deciding on registrations for my special music. I already had determined Carol's usual settings for hymns and service music, so did not have to reinvent the wheel. I was also informed that "Carol plays this" for the intro to each piece, by the cantor who arrived in the middle of my practice. Okay, so I changed the intros so that the congregation wouldn't miss her or the beat. For prelude I decided to do the Adagio from Vierne's Third Organ Symphonie, which went well. Then I started Purvis' "Adoro te devote" movement from his Four Prayers in Tone. Halfway through that, the priest showed up to tell the cantor to tell me they were ready to start. OK, again thought I, that's just as well, inasmuch as I was going to run out of notes up top to do it as written and was going to have to improvise. All went extremely well, except the Jewish cantor and the Episcopalian sub organist couldn't get together on the Catholic version of the hymn "Adoro te devote". Not a major problem, just a minor annoyance. The Mozart "Ave verum" sounded good. The Eucharist music timed out perfectly, so I didn't have time to throw in some more versions of music referred to me by list members. We had about 120 for Saturday afternoon service. I did the Bach Little Fugue in G minor (isn't that BWV 578?), for my postlude. Then I had to rush the 75 miles home (and it takes an hour to get from downtown to the Avalon Boulevard I-10 exit going Highway 90, and an hour to get from Davis Highway across the I-10 bay bridge, so either way the return trip takes about two hours, thanks to Hurricane Ivan), go to the grocery store to buy stuff for the family get-together, try to sleep (which was hard to do), get up at 5:00 and rush back to Pensacola to practice for the 9:00 service. I actually made it downtown to the church in record time, one hour, even with all the bridge problems and in-town detours, so I had a little more time to practice. I brought some more music with me, guessing that (a) I would quickly get bored with playing the same program two more times, and (b) the crowds might be larger, necessitating more communion music. Well, for the 9:00 service I started a little early and did most of the Purvis, improvising and skipping some of the last bit where I didn't have enough notes. And I did the Vierne again. This time I timed out perfectly. The "Adoro te devote" went smoothly with the Catholic cantor, although she didn't sing as well on the Gradual as the Jewish cantor. The postlude was the last half of the "St. Anne" Prelude (hey, I bore easily). It went well, except the pedal portion going downhill fast wobbled once on that slippery B-flat. We probably had another 120 for the 9:00 service. As much as I love Vierne, I was tired of the Adagio, so for the 11:00 I pulled out some of the Durufle "Veni Creator" and "Ubi caritas", and improvised on the Adoro te devote in the style of Purvis. I did use some of the Titcomb sent by Bill Harris at the beginning of communion leading up to the "Ave verum". And I threw in an "Eternal Father, strong to save" at the last of the Eucharist. The postlude this time was the last part of the St. Anne Fugue (the dance). The last service was done by one of the assistant priests, who did a more meticulous job in delivery. He sang the prefaces well, and we had bells during Eucharist, so I felt right at home. We had more, maybe 150 in attendance. I truly enjoyed this gig. I would have liked to have had more time at the console to plan a little more elaborate solo music, but all in all with using Carol's combinations and hand-registering I felt comfortable. Of course, in an RC church one plays the postludes only for the love of doing so, because there is a mad dash out the door after communion, and no one is left when you are finished to say, "Job well done." But it was cool nonetheless. Now let's see if the RCs pay quicker than the Lutherans and Methodists. Happy Memorial Day tomorrow. Glenda Sutton firstname.lastname@example.org
(back) Subject: Sunday Selections - The Series (?) (xpost) From: "John Seboldt" <email@example.com> Date: Sun, 29 May 2005 21:45:25 -0500 Don't know exactly what to call it, but after doing the Bach selections=20 for Trinity Sunday last week I got a bee in my bonnet to do some session=20 recordings of the pieces on good ole' Casavant op. 2774 (1964). It takes=20 some work to set up, warm up, and play enough takes for a decent=20 performance, but it was fun. Hope I can do it once a month or so for=20 some of the pieces I feel most connected to. http://www.seboldt.net/annunciation/sundayselections.html This week, I've recorded the Bach settings of "Wir glauben all' an einen=20 Gott", BWV 661 and 660, from the Clavier=FCbung III, and the lovely liquid= =20 setting of "Allein Gott in der H=F6h' sei Ehr", BWV 662, (the one with all= =20 the appogiaturas) from the Leipzig collection. The manualiter "Wir=20 glauben" gets a radical "French overture" treatment, complete with=20 "Grand jeu" based on the light but snappy Trompette en chamade. The=20 "Giant" fugue with two solid plena coupled shows some Larry Phelps=20 choruses with reasonable weight and gravity, though those Pedal reeds=20 kind of blat at you in a manner typical of the era. Contrast that with=20 some more liquid-sounding registrations in the "Allein Gott", including=20 a smooth Pedal 16' Contra Bass (used alone here, and pretty nice except=20 for a few sagging languids here and there). Links to the organ spec, with photos, are included on the page. Enjoy! John Seboldt Interim Organist, Our Savior's Lutheran, Milwaukee, WI www.seboldt.net/annunciation www.seboldt.net/choralevensong ch
(back) Subject: help... need a fanfare intro From: "Andy Lawrence" <firstname.lastname@example.org> Date: Sun, 29 May 2005 22:15:21 -0700 I'm playing a wedding for a friend at 10th pres philly (anyone know any cool details about the Allen there? Any fun facts for the laypeople? Any favorite solo combos? Am I going to be terribly disappointed? I haven't played any electronic of any quality in a long time, but assume Allen probably put and still puts their best efforts into this one.) Anyhoo... the bride wants "Lauda Anima" (John Goss) for the processional. I'm just playing it right out of the hymnal. The question is... can anyone suggest a fanfare intro in terms this uneducated musician can understand? (I'm better at fixin 'em than playin 'em). I know... this is very basic improv. I don't have basic improv skills. I just play the black dots usually. (I know I know... gotta get some lessons... but not before saturday). :) I'm playing in D. Andy