Dear Friends,

I hope everyone had a nice weekend.

*** Lana's organ recital coming up ***

You are cordially invited to my recital at St. Patrick's Old
Cathedral, corner of Prince and Mott Streets.
Sunday, May 23, 4:00 pm. I will play the music of Byrd, Froberger,
Bach, Krebs and Buxtehude on the historic 1868 Erben organ.
http://www.organfocus.com/search.php3?eventID=12577
http://www.oldcathedral.org
*******************************************


*** World News ***
** RUSSIA: The Eule organ at Chelyabinsk famous Organ Hall is in
danger of being destroyed. Eariler in April, the mayor of Chelyabinsk
promised to hand over the Organ Hall building to the Russian Orthodox
Church. The organ has no place in the Orthodox liturgy and will likely
be removed/destroyed. Read the article in translation here:
http://translate.google.com/translate?ie=UTF-8&oe=UTF&u=http%3A%2F%2Fwww.ura.ru%\
2Fcontent%2Fchel%2F19-04-2010%2Fnews%2F1052113238.html&sl=ru&tl=en

More on the Organ Hall and the website:
http://translate.google.com/translate?js=y&prev=_t&hl=en&ie=UTF-8&layout=1&eotf=\
1&u=http%3A%2F%2Forgan-hall.ru%2Findex.php%2F&sl=ru&tl=en

http://www.urc.ac.ru/Chelyabinsk/theatres/Organ/
This is sad news indeed, as this Organ Hall is unique and attracts
musicians from Russia and Europe. It provides a still-rare-in-Russia
opportunity for the audiences to hear live organ music.


*** US News ***

** San Diego Cause for Celebration
Brunch gets to the heart of the instrument
http://www.sandiego.com/cause-for-celebration/cause-for-celebration-spreckels-or\
gan-society

** Schermerhorn's $2.5 Million Pipe Organ Severely Damaged by Flooding
One of the city's recently acquired glories — the $2.5 million
Schoenstein pipe organ installed in the Schermerhorn Symphony Center
in 2007 — is among the latest casualties of the Cumberland's
unstoppable flood waters.
http://www.nashvillescene.com/pitw/archives/2010/05/03/schermerhorns-25-million-\
pipe-organ-severely-damaged-by-flooding

** Iconyx helps restore a Texas landmark
Highland Park United Methodist Church (HPUMC) at Southern Methodist
University (SMU), which dates back to 1916, has recently undergone a
major renovation that includes a new Dobson pipe organ, sanctuary
refurbishment and Renkus-Heinz Iconyx Digitally Steerable Array
loudspeakers, specified by Kirkegaard & Associates and installed by
Clair Brothers Systems.
http://www.lsionline.co.uk/news/story/Iconyx-helps-restore-a-Texas-landmark/J0VH\
Z6

** New pipe organ helps Oklahoma City church sustain musical excellence
A new Schantz pipe organ at a local Lutheran church has the
congregation making sweet music these days.
http://newsok.com/article/3457940

** This hobby is a pipe dream
Two of the best personality traits Gary Rickert have are an interest
in tinkering with all things mechanical and a seemingly inexhaustible
supply of patience. Being a theater organ enthusiast, builder and
restorer, he needs them.
http://www.southtownstar.com/neighborhoodstar/oakforest/2248220,050910OFbeatcol.\
article

And finally, an opinion.

Our beloved pipe organ is unfortunately dragged through the mud again
in headlines depicting George Rekers, the anti-gay activist and
evangelist who took a vacation with a male aide from rentboy.com.
Desperate for any provocative angle, the "diligent" reporters looked
at his Facebook page and zeroed in on "playing the pipe organ" as an
interest. Playing the pipe organ has got to be much more implicating
than playing the piano, which is also in his list of interests. I am
sad for our state of media reporting.
http://www.anorak.co.uk/247338/media/anti-gay-rights-minister-dr-george-rekers-r\
ent-boy-and-playing-the-pipe-organ.html

Please note: I am not looking to start a rant on the above topic. I am
just expressing dismay at how the pipe organ is treated in the news.

Have a great week!

Lana

Dear Friends,

In the Isabelle Demers concert review I posted earlier, I incorrectly
attributed the PIPEDREAMS program to NPR. Host and senior executive producer
Michael Barone sent this
correction:


PIPEDREAMS is the production of American Public Media, not NPR.  The
'national public radio' system is made up of many independent
stations, some of whom are connected to diffferent distributors (such
as American Public Media, or Public Radio International).  National
Public Radio is a program producer, and also distributes some content
produced by others.  Unfortunately, some people think of any
'national, public radio' program as coming from NPR...when that's not
often the case.

http://pipedreams.publicradio.org/

http://minnesota.publicradio.org/about/people/mpr_people_display.php?aut_id=95


Thank you for the correction, Michael!

Sincerely,
Lana

Dear Friends,

Arthur LaMirande sends in the following announcement:

**************************
Arthur LaMirande will be featured in recital (recorded) on Monday, May
17th,  Arts Indonesia Internet Radio, 22:00 hours Indonesia time.
Details below.

This week on Radio ArtsIndonesia

This week, we are airing two new recitals and one new symphony.

The first is an organ recital by Arthur LaMirande which will air on
Monday the 17th at approximately at 22:00 Hours

He was born in 1936 at Holyoke, Massachusetts, USA.  Started as a
pianist, later adopted the organ as his main instrument.  Organist
1973 - 82 of one of the largest churches in New York City:  Holy Name
of Jesus.  Currently organist of St. John's Church, Elizabeth, New
Jersey He has given performances in many venues, including Notre Dame
Cathedral, Paris; Westminster Cathedral, London; St. Patrick's
Cathedral, New York; the National Shrine of the Immaculate Conception,
Washington DC; St. Mary's Cathedral, San Francisco; St. Joseph's
Oratory, Montreal; the Cathedral of the Good Shepherd, Singapore; the
Hong Kong Cultural Centre and St. John's Cathedral, Hong Kong; and the
recital to be heard on Monday evening at Holy Rosary Cathedral,
Vancouver, British Columbia, Canada.

Our site, http://www.artsindonesia.com, now has Radio Artsindonesia
playing when you enter the site and will stay on while you move
through the site.

If you can’t hear the music then you can go to the following site to listen

http://radio.artsindonesia.com/
**************************

**** Site News ****

A new link category has been added: Instrumentalists who play with
Organists. Please invite your instrumentalist friends to link up:
http://organfocus.com/links/index.php?CID=37

**** Web News ****

** UK: The fundraising sound of music

"Reading Minster will be hosting a series of recitals to help raise
£500,000 to restore its Father Willis organ. "
http://www.getbracknell.co.uk/entertainment/music/s/2070940_the_fundraising_soun\
d_of_music

** UK: Thomas Trotter

"Llandaff's new Nicholson organ is the first new cathedral organ built
since Coventry's in 1962. It's still some stops (and pounds) short of
completion, but Thomas Trotter's inaugural concert showed its quality
and variety of tone-colour living up to the promise of becoming one of
the finest. "
http://www.guardian.co.uk/music/2010/may/09/thomas-trotter-review

** UK:  The Mulholland Organ makes a grand return

"The restoration of the Mulholland Grand Organ in the Ulster Hall was
an occasion worthy of note — or, in this case, many notes."
http://www.belfasttelegraph.co.uk/entertainment/music/reviews/the-mulholland-org\
an-makes-a-grand-return-14792664.html

** Oregon: After 37 years as organist and choirmaster, John Strege
retires from Trinity Episcopal Cathedral

"Most people retire with a sheet cake and well wishes, but Strege, 65,
is leaving in a style that befits his status at Trinity, the state's
largest Episcopal congregation, and a place where music is a
meaningful part of the liturgy."
http://www.oregonlive.com/performance/index.ssf/2010/05/john_strege_retires_from\
_trini.html

** Pennsylvania: Church restores historic organ

"A several-year vision to restore First Evangelical Lutheran Church's
Skinner pipe organ is slowly, but surely coming to fruition."
http://www.ourtownonline.biz/articles/2010/05/04/neighbors/local_news/sample130.\
txt

** Iowa: Historic organ coming home?

"MASON CITY — Light green and taupe-colored pipes vault 26 feet into
the air on this organ that has “a glorious sound,” according to one
who has heard it played. A growing number of organ enthusiasts are
trying to keep that sound alive."
http://www.globegazette.com/news/local/article_cfe6198c-50ea-11df-a758-001cc4c00\
2e0.html

** New Jersey: Beckerath Organ 40th Anniversary Recital by Trent
Johnson at St. Stephen’s in Millburn May 23 at 4 pm
"The concert will feature the world premiere of a new work by Mr.
Johnson: Concert variations on "The Carnival of Venice," as well as
his 2001 composition "Visions." Major works on the program will also
include Max Reger’s Introduction and Passacaglia in D minor, Johann
Sebastian Bach’s Prelude and Fugue in D Major and Tommaso Albinoni’s
Adagio for Strings. "
http://thealternativepress.com/article.asp?news=12783&Beckerath-Organ-40th-Anniv\
ersary-Recital-by-Trent-Johnson-at-St.-Stephen%E2%80%99s-in-Millburn-May-23-at-4\
-pm

** Florida: Last of the silent-movie organists

"Word has reached us from Florida that Rosa Rio, the last of the
silent-movie organists, has died at the magnificent age of 107. (She
would have been 108 in less than three weeks.)"
http://voices.washingtonpost.com/postmortem/2010/05/last-of-the-silent-movie-org\
an.html

Have a great week!

Lana

Dear Friends,

I hope this summer finds you well.

My first solo recital in NYC at St. Patrick's Old Cathedral went well.
There were about 20 people. I would have wished for more. Back in 2007
I played an all-Bach recital in St. Paul's Episcopal Church in
Nantucket, MA to an audience of nearly 90, but that was a vacation
island with a captive audience where not much else was going on.
Perhaps we should branch out and play more recitals in such places.
Let's get our listeners while they are away from the daily grind, and
maybe more receptive to attending organ concerts! :)

I am now recording my recital repertoire on that wonderful Erben organ
in the sacred 200-yr old space. Here are two new videos:
William Byrd, Pavana and Galliarda
http://www.youtube.com/watch?v=FCY3Wgvw3Ts

Johann Jakob Froberger, Toccata VI da Sonarsi alla Levatione
http://www.youtube.com/watch?v=Daig86fm0-s

*******************************************
OrganFocus.com is having some technical difficulties right now. The
form submissions and search functions don't work. This has something
to do with my hosting provider, and I am actively seeking a solution.
I will update you on when the site is functional again.


*******************************************
Brooklyn and Manhattan friends, come join me to a showing of the 1927
silent film (romantic comedy) "My Best Girl", accompanied live on the
organ by Theater Organist Bernie Anderson. Tickets $10 at the door
Date:
Saturday, June 12, 2010
Time:
8:00pm - 11:00pm
Location:
The Brooklyn Baptist Temple, 360 Schermerhorn St. At Third Ave.,
Brooklyn, NY 11217


*******************************************
News from ORGANPromotion:

From: ORGANpromotion <michael.grueber@...>
Subject: Organ - News June 2010
To: info@...

Organ Festival - Organ Competition - Organ Class
==============================

Internationale Orgelwoche Nürnberg - ion -  4 - 13 June 2010
www.ion-musica-sacra.de

L ´orgue à Paris dans les annèes 30     3 – 5 June 2010, Paris



Colloque, Communications, auditions, concerts



M.C. Alain, J.D. Christie, S. Landale, M.L. Langlais, E. Lebrun, P.
Lefevbre, K. Lueders, D. Roth ...



www.crr-paris.fr



325th Anniversary of J.S.Bach - 10 Years of the Bach organ Thomaskirche Leipzig
Celebratory Organ Festival and Organ Master Class  26 June - 7 August 2010

Performance of Bach's Organ Works in 7 recitals:
H. Vogel, M. Radulescu, Ullrich Böhme, L. Ghielmi, J.van Oortmerssen,
M. Bouvard, M. Suzuki
www.ORGANpromotion.org

Festival d´orgue St. Vincent de Paul, Paris  22 - 24 June 2010
22 june: Pierre Cambourian, 23 June: Prize winners of CNSM
24 june: Olivier Latry, Philippe Lefebvre, Francois-H. Houbart, P. Cambourian

Merseburger Orgeltage "Universum BACH" 11 - 19 September 2010
www.merseburger-orgeltage.de

Festival Toulouse les orgues  7 - 17 Oktober 2010
www.toulouse-les-orgues.org




Wuppertaler Musiksommer - International Organ Competition 26 - 29 August 2010
www.wuppertaler-musiksommer.de

3. Internationaler Franz-Schmidt-Orgelwettbewerb  16 - 25 September 2010
www.orgelwettbewerb.kitz.net

13. Internationaler César Franck Wettbewerb Haarlem  21 - 25 September 2010
www.cesarfranckconcours.nl



Organ Master class Thomas church Leipzig  4  - 7 August 2010
www.ORGANpromotion.org

Basler Summer Organ Academy 13 - 17 September 2010
www.hsm-basel.ch/orgelakademie


information by
www.ORGANpromotion.org
German Management for the Organ

20 Pax ? Is it possible. People are interested in great romantic pieces,
only....
But to Liana, congratulation !
Stanislav Kowalski

----- Original Message -----

From: Josephlindquist9@...

To: organfocus-newsletter@yahoogroups.com

Sent: Wednesday, June 09, 2010 1:29 AM

Subject: Re: [organfocus-newsletter] Update for 2010-06-08

 

Yes, great romantic pieces - - - and UNKNOWN great romantic pieces in particular!!!  Items such as the monumental Sonata in F minor by Gerhard Bunk (its four movements depict the four ages of man), or the mind-blowing, finger- and ankle-twisting Ciacona of Heinrich Reimann (also in f minor, and written to depict the majesty of God the Father Himself), or the ne plus ultra of all organ music, the hour-long, six- movement symphonic cycle "Das Leben" by Horace Wadham Nicholl (available in photocopy from the Carnegie Library of Pittsburgh), not played in this country in fifty or more years......

Joe Lindquist
Flushing, NY

(yes, I have copies of all the above, and a lot more too...the Bunk and Reimann are available in new issues from Barenreiter)

The question is not only in repertoire or just a good organist, because I have attended the concerts of the great organists with little crowded auditorium.

It is sad, I agree, but what do you think the organist?

I believe that only with the concerts we can not create an audience that will enjoy the organ music. This music requires preparation in order to appreciate and enjoy it. It must be a system of educational concerts for all types of public and, of course, to do a casting ..., especially in churches where the organist sometimes offered free playing y. .. with poor quality.

It is complicated, but it is necessary to educate the public ! not only play organ, my friends and colleagues.

Best greetings,

Liudmila.

10.06.10, 01:58, "Arthur LaMirande" <alamirande2001@...>:

 

Over the years, I have played a good many organ recitals. These recitals have included a lot of off-the-beaten-track organ repertory.  Franz Schmidt, Georg Trexler, Kar Ho"ller, Bernhard Dreier, Daniel-Lesur, Bernard Piche', Walter Pach, and even Guy Bovet! In each and every single occasion:  the AUDIENCE has give me an OVATION! Who is it who has objected? OTHER ORGANISTS!  That's  who! Usually, the staff organist of the church where I was performing. Ever heard of the green monster? Arthur LaMirande

Regarding organ recitals, I believe that not only repertoire and the
organist are to be considered, but also publicity, which is usually
lousy for almost any organist, unless they have a Virgil Fox
"reputation".  Also, the sad but very very true fact that our instrument
is a great mystery to the vast majority of the listening public.
POE events and the like help, but, maybe we should present
'user-friendly' demonstrations of the very instrument that we all
cherish for adults, teens and children. And, what about including "The
King of Instruments" (by a composer that I cannot recall at the
moment-please don't fault me), or similar material that demonstrates,
through actual organ music, the mysterious pipe organ.
Dave


--- In organfocus-newsletter@yahoogroups.com, Arthur LaMirande
<alamirande2001@...> wrote:
>
> Over the years, I have played a good many organ recitals.
>
> These recitals have included a lot of off-the-beaten-track organ
repertory.  Franz Schmidt, Georg Trexler, Kar Ho"ller, Bernhard Dreier,
Daniel-Lesur, Bernard Piche', Walter Pach, and even Guy Bovet!
>
> In each and every single occasion:  the AUDIENCE has give me an
OVATION!
>
> Who is it who has objected?
>
> OTHER ORGANISTS!  That's  who!
>
> Usually, the staff organist of the church where I was performing.
>
> Ever heard of the green monster?
>
> Arthur LaMirande
>

Fantastic ideas!
Especially like demonstrating and explaining the abilities of the organ to the
audience.
Chuck


-----Original Message-----
From: pipeorganplaya <pipeorgandude@...>
To: organfocus-newsletter@yahoogroups.com
Sent: Thu, Jun 10, 2010 4:04 pm
Subject: [organfocus-newsletter] Re: organ recitals


Regarding organ recitals, I believe that not only repertoire and the
organist are to be considered, but also publicity, which is usually
lousy for almost any organist, unless they have a Virgil Fox
"reputation". Also, the sad but very very true fact that our instrument
is a great mystery to the vast majority of the listening public.
POE events and the like help, but, maybe we should present
'user-friendly' demonstrations of the very instrument that we all
cherish for adults, teens and children. And, what about including "The
King of Instruments" (by a composer that I cannot recall at the
moment-please don't fault me), or similar material that demonstrates,
through actual organ music, the mysterious pipe organ.
Dave

The last time I was in Leipzig, I attended a lecture-demonstration presented by
the Gewandhaus organist, Michael Schönheit.  His audience was composed of
children, ages 8 through 16, and their parents and other adults.  After
demonstrating the various types of pipes and sounds produced on the Gewandhaus
organ, he played BWV 565.  Then he invited the kids to come to the console and
play whatever they wanted to.   I didn't hear  "chopsticks" but several kids
keyed their lastest piano lesson.  I think a lot is gained for everyone with a
hands-on approach. Afterwards, he invited his audience to stay for his rehearsal
(work-up for a concert the following evening).  Many of us remained for the
next hour, fascinated by an artist preparing for a public performance.
Dan

--- On Thu, 6/10/10, Chuck Prestwood
  <ChuckPrestwood@...> wrote:

From: Chuck Prestwood <ChuckPrestwood@...>
Subject: Re: [organfocus-newsletter] Re: organ recitals
To: organfocus-newsletter@yahoogroups.com
Date: Thursday, June 10, 2010, 5:45 PM
















 



 


   
     
     
      Fantastic ideas!

Especially like demonstrating and explaining the abilities of the organ to the
audience.

Chuck



-----Original Message-----

From: pipeorganplaya <pipeorgandude@...>

To: organfocus-newsletter@yahoogroups.com

Sent: Thu, Jun 10, 2010 4:04 pm

Subject: [organfocus-newsletter] Re: organ recitals



Regarding organ recitals, I believe that not only repertoire and the

organist are to be considered, but also publicity, which is usually

lousy for almost any organist, unless they have a Virgil Fox

"reputation". Also, the sad but very very true fact that our instrument

is a great mystery to the vast majority of the listening public.

POE events and the like help, but, maybe we should present

'user-friendly' demonstrations of the very instrument that we all

cherish for adults, teens and children. And, what about including "The

King of Instruments" (by a composer that I cannot recall at the

moment-please don't fault me), or similar material that demonstrates,

through actual organ music, the mysterious pipe organ.

Dave





   
     

   
   






 

Dear Friends,

******
Firstly: the OrganFocus keyword search and event submission form are now
operational again. (Search by eventID and send-to-a-friend functionality coming
back soon). Thank you for your patience.
http://www.organfocus.com/search.php3
http://www.organfocus.com/entry_form.php3
******

I always remember fondly the 2008 inaugural recital of the new Taylor & Boody
organ at First Presbyterian Church of Pittsford, NY by Eastman School of Music
professor William Porter. Many church members were in attendance, and Dr. Porter
proceeded to show off all 22 stops, singly and in combinations, addressing the
audience: "this is your instrument: know its sounds". When he described the
Hauptwerk Quintadena, he scrunched up his face and said "The Quintadena stop
sounds like a grapefruit". It was a great and educational recital, culminating
with some of the best hymn-leading I have ever experienced.
http://www.taylorandboody.com/opus_pages/opus_57/simpleviewer/organ_photo_galler\
y.html

Lana

Exactly, I was talking about it already. I am agree.

We have work for make our public and also  it is important dedicate the time and the money for make publicity.

But we have to play series of the didactic concerts  for  adults, teens and children and for all family!

It is a way to found the public for organ music.

Liudmila.

11.06.10, 01:04, "pipeorganplaya" <pipeorgandude@...>:

 

Regarding organ recitals, I believe that not only repertoire and the
organist are to be considered, but also publicity, which is usually
lousy for almost any organist, unless they have a Virgil Fox
"reputation". Also, the sad but very very true fact that our instrument
is a great mystery to the vast majority of the listening public.
POE events and the like help, but, maybe we should present
'user-friendly' demonstrations of the very instrument that we all
cherish for adults, teens and children. And, what about including "The
King of Instruments" (by a composer that I cannot recall at the
moment-please don't fault me), or similar material that demonstrates,
through actual organ music, the mysterious pipe organ.
Dave

Liudmila, you are right, we have dedicate time for didactic question. I know
that it is case of years, but after this time your festival or concert serie
will have good audience, with knowledges and artistic taste.
All support which we dedicate to our audience is a great investment, be sure...
Stanislav
Kremnica Castle Organ

I believe it was the young Mozart who coined the phrase "The King of
Instruments" (but I may be wrong).

As many have said, repertoire is part of the problem, perhaps the
biggest part.  I've attended a number of the free Sunday afternoon
recitals at Westminster Abbey
and St Paul's Cathedral in London   The crowds waiting for the doors to
open are huge and, I guess, mostly tourists just wanting to see the
wonderful architecture.
We are herded into our seats by kindly but officious vergers and
programmes are suppled.   I've noticed that many people don't even
bother to open up their programmes
to see what's going to be played - therefore they can't be organists or
even have a passing interest in organ music.

Often we have been fed large chunks of Messiaen (what do the untutored
listeners make of that?) and page after page after page of the most
indigestible music.
Although the recitals or not long. 45 minutes at most, people often
walk out after a very short while.   It is doubtful whether they will
ever go to an organ recital again.
Organists playing for organists can include the Schoenberg Variations
and we listen with a degree of understanding, organists playing the
same type of music to
non-organists may think they are 'educating' them - BUT POSSIBLY IN THE
WRONG DIRECTION.

Promoters of organ concerts must instruct their performers to tailor
the programme to the audience or be prepared the accept the
responsibility for turning people away
from organ music in general.  Genuine organists will be prepared to
recognize the need for an 'easier' diet in these circumstances.

Even the uninitiated must be thrilled by the huge sounds being thrown
around a vast church but those sounds have got to be intelligible.  To
a certain extent most organists are
megalomaniacs at heart (I put my hand up, I'm guilty) but as I approach
my dotage I find I'm even more satisfied with a beautiful flute on a
single manual instrument.
In my years of concert giving I've always tried to tickle the ears as
much, if not more, than 'bombarding' them - pun intended!

I could go on but that's more than enough for now.       Best
wishes............ John  Mingay

AAAAamen to John Mingay.  Here in Dallas, Texas, Mary Preston plays weekly half
hour recitals on the Lay Family Organ in Meyerson Symphony Center.  There are
often school groups in the audience and she will usually include a well known
tune, such as "The Flight of the Bumble Bee", "The William Tell Overture", or
"Variations on America".as well as classics which demonstrate the power and
beauty of the organ sound. Diversification holds their interest.  I have often
heard novice listeners comment that they would like to hear more.

BARRY

If I'm not mistaken: in German, the organ is called the Queen of Instruments. 
At least: that's what Franz Schmidt called it.

I played a recital at the Westminster R.C. Cathedral back in January 2002.  I
had intended to play the massive Chaconne of Franz Schmidt.  Unfortunately, my
valise (containing all my music) was stolen at La Gare du Nord in Paris, while I
was waiting to board the Eurostar.  That score could not be found in London ---
not on such short notice, anyway.  So: I had to change the entire program to
music for which the scores were available at the Cathedral.  So: I wound up
playing a conventional program: Franck and Vierne.  They were nice enough to
allow me to stay as long as I wanted the Saturday evening before the recital,
and I stayed until after midnight.  It was rather spooky being all alone in
that vast darkened space!

The argument advanced by our friend John Mingay is the same old one that's been
used by agents for decades:  Play down to the masses!  Well, I have never
played down to the masses (unless my music gets stolen!), and I have yet to see
anybody walk out of one of my recitals.  I would agree that more than a few
minutes of Messaien may be hard to take --- actually, I much prefer his piano
works to his organ works* --- but there is plenty of other "modern" music around
that is instantly palatable, even to the uninitiated.  Besides Franz Schmidt
(who was really to the organ what Rachmaninoff was to the piano!), there are
composers like Georg Trexler, Karl Ho"ller,  Augustinus Franz Kropfreiter,
Frank Martin, Siegfried Reda, and numerous others.  They RARELY get performed
in North American or the U.K.  So I wouldn't know which "indigestible" music
our friend is alluding to.  If he would be more specific, then we could discuss
the merits of his argument
  more realistically.

As he points out: most of the people at Westminster Abbey and St. Paul's
Cathedral are just tourists: tourists who just happened to walk in at the
"wrong" time!  The same is true of St. Patrick's Cathedral in New York City ---
but there, there tourists are not required to sit down.  Much to the detriment
of those (few) who actually do come to hear the organ recital.  At St. Thomas
Church just up the street, the organ recital follows the Evensong service, and
the people who remain for the recital are people who came for that purpose.
Few tourists enter the premises at that time, and if they do, they are requested
to be seated by the ushers.  It is my opinion that Sunday afternoon is not the
best time to give an organ recital.  A weekday evening is very much preferable,
and more likely to draw people who have a serious interest in organ music.

Arthur LaMirande

*I have listened to plenty of Messaien, both in live performance and in
recordings, but I have never played it myself?   Why not?  Because that's
what everyone else seems to be playing these days, and I prefer to bring before
the public works which other organists are NOT performing.  I received an
accolade way back in 1978 from the American Record Guide for doing just that!

I heard Messaien in live performance twice within one week.  That was back in
March 1972!
First, he gave the premiere of his Livres du Saint Sacrament (I think that was
the work), and I have to confess that, on first hearing, I couldn't make heads
nor tails out of it without following the composer's voluminous program notes. 
That was at the huge National Shrine of the Immaculate Conception in Washington
DC, and the vast edifice was jam-packed --- presumably with organists assembled
from all over the continent!   The second performance was a duo-piano recital
(with his wife Yvonne Loriod) at Hunter College in New York City, just a few
days later.  I found his piano music to be far more "digestible"!  Even
enjoyable.  And on first hearing.   Of course, I have to admit that I usually
very much prefer a piano recital to an organ recital --- unless, of course, I
happen to be the organist who is performing!  :)

Addendum:   I have played around with the Arnold Schoenberg Variations, but I
have never performed it in public.

Why not?  In my opinion --- and I am not alone --- it is simply not idiomatic
to the organ.
Some have opined that it is better rendered as a string sextet.   Schoenberg
himself made comments that amply demonstrate that he had no knowledge of the
organ as an instrument.  (E.g., he wanted his notations reproduced ONLY at the
exact pitches which the notations indicated.  Now: wouldn't THAT make for a
muddy organ performance!)

He was a master orchestrator, but he knew nothing of the organ.

Come to think of it: I have never heard ANYBODY perform this work.  So ---
aside from Messaien --- which "modern" music does our friend (and all those
tourists*) object to?

Arthur LaMirande

*I expect that many of those tourists would walk out even on Beethoven!

--- On Sat, 6/12/10, John Mingay <john.mingay@...> wrote:

From: John Mingay <john.mingay@...>
Subject: Re: [organfocus-newsletter] Re: organ recitals
To: organfocus-newsletter@yahoogroups.com
Date: Saturday, June 12, 2010, 9:36 AM







 









       I believe it was the young Mozart who coined the phrase "The King of

Instruments" (but I may be wrong).



As many have said, repertoire is part of the problem, perhaps the

biggest part.  I've attended a number of the free Sunday afternoon

recitals at Westminster Abbey

and St Paul's Cathedral in London   The crowds waiting for the doors to

open are huge and, I guess, mostly tourists just wanting to see the

wonderful architecture.

We are herded into our seats by kindly but officious vergers and

programmes are suppled.   I've noticed that many people don't even

bother to open up their programmes

to see what's going to be played - therefore they can't be organists or

even have a passing interest in organ music.



Often we have been fed large chunks of Messiaen (what do the untutored

listeners make of that?) and page after page after page of the most

indigestible music.

Although the recitals or not long. 45 minutes at most, people often

walk out after a very short while.   It is doubtful whether they will

ever go to an organ recital again.

Organists playing for organists can include the Schoenberg Variations

and we listen with a degree of understanding, organists playing the

same type of music to

non-organists may think they are 'educating' them - BUT POSSIBLY IN THE

WRONG DIRECTION.



Promoters of organ concerts must instruct their performers to tailor

the programme to the audience or be prepared the accept the

responsibility for turning people away

from organ music in general.  Genuine organists will be prepared to

recognize the need for an 'easier' diet in these circumstances.



Even the uninitiated must be thrilled by the huge sounds being thrown

around a vast church but those sounds have got to be intelligible.  To

a certain extent most organists are

megalomaniacs at heart (I put my hand up, I'm guilty) but as I approach

my dotage I find I'm even more satisfied with a beautiful flute on a

single manual instrument.

In my years of concert giving I've always tried to tickle the ears as

much, if not more, than 'bombarding' them - pun intended!



I could go on but that's more than enough for now.       Best

wishes............ John  Mingay

























[Non-text portions of this message have been removed]

Years ago Samuel Swhhrtz (sp?) published an article in the AGO magazine posting
the results of a survey he had done of people attending the Sundayafternoon
concerts at the church he played for n Pasedena CA. E.E.U.U.
THe attendees reported liking selections by Bach and Buxtehude (and Baroque in
general) the most and Vierne and Widor (French Romantics in General) the
least.From this data Dr. Swhartz came to the conclusion that we needed to play
less Bach and more Vierne and Widor. This seemed like an odd conclusion to me
i.e.survey people to find out what they like and then insist on giving them more
of what they say they don't like and deny them that which they like.
  A friend said it was obvious to him that we had to play more Vierne and Widor
so that public would learn to like it as much as Bach and Buxtehude.

I am not sure what the answer is but I know this: When I am in Mexico playing
Organ recitals anywhere outside of el D.F, I play to full houses (Including
Catedrals that seat 2000 people) that is if the concert is sponsored by someone
and admission is free, but charge as little as 20 pesos and attendance is cut in
half.
In the US I can draw 100 people under just the right circumstances if admission
is free. In Mexico City it is much the same as in the E.E.U.U.
I think the biggest problem is basically the number of entertainment options
people have today, especially in large cities. (Which is why el D.F. has the
same attendance numbers as the E.E.U.U.) In the smaller cities and towns of
Mexico, it was likely that I was the only live event in town that week, or
possibly that month, therefore is people want to get out of their houses for
entertainment, I was the only option. I think that was why people like Edwin
Lemare had the audieneces he did in the early 20th cent. as well. He was the
only show in town for the weekend, so he could play in a Civic audtoruim that
soldout three times in a weekend for his concert. Some people have said it was
because he played more transcriptions and less literature,but I think it was
probably a more a case of being the only show in town, coupled with being a
great showman and a good player. There will be the ocaasional Virgil Fox, Jean
Guillou, Cameron Carpetner, etc (although I
  have been to concerts by these people that were less than sold out) who are
good showman and play literature the masses enjoy. What the rest of us can do
I'm not sure. I know we must play whatever literature  we chose to play well and
make it come to life in some way.
My teacher, Anthony Newman, (not exactly popular with the purists when he first
appeared on the scene, but he frequently played to full houses of people who
didn't care about purism, just that his music making was exciting, although he
was great student of performance practices himself and believed in trying be
exciting in a stylistically appropriate way) used to say you have to make a leap
of faith from all your study of performance practices into actually making an
exciting. viable performance that comes alive.
I think there can be an audience for esoteric early literature, but so many of
us worry about whether or not we are doing it "styllistically Correct" -(S.C.-
the musicians form of PC) If you do chose to play some of that literature I
would suggest making sure you do something make it come alive for the audience,
even if you are not excatly sure about altering this rhythm or adding that
ornament, go ahead and do it if there is the slightest possibilty it could be
correct and if it makes the music more lively.
All the best to everyone and if I'm ever in your town when you are playing I
will attend enthusicatically, because if we can't support our fellow organistas,
even when we don't agree totally with the performance, we certianly can't expect
any better from the general public.
John

[Non-text portions of this message have been removed]

Yes, I agree with you 100%, sir.  Repertoire is indeed important. I
remember hearing a very well known organist on a very large instrument
(albeit in a room, though large, was very "dry" acoustically) at the
1990 AGO National in Boston.  This organist chose organ music of the
'art deco' era - e.g. Bennet, Sowerby, etc.   The playing was note
perfect (almost annoyingly note perfect), relatively musical, and the
registrations were fairly close to ideal - but - and this is a big "but"
- the music was BORING, BORING, BORING! Except for some of the Sowerby,
the rest of the music sounded either sleepy when slow, or just a bunch
of notes strung together when faster tempos were involved.
The general public was invited to this recital.  During the recital, I
am of course thinking, if this music is boring for ME, what must it
sound like to the general public? Needless to say, organists and
non-organists alike walked out at various points throughout the recital.
The Sowerby was programmed last on the recital, and since I do like a
number of his works, I stayed throughout the entire recital (mainly
because I am a bit of a musical masochist at times).
At any rate, as much as some of us might love their music, we organists
need to save the all 'Art Deco', all Bach, all Buxtehude, all Franck,
all Renaissance, all Messiean, all Langlais, all Pinkham, all any
composer/time period for the recitals that we play for each other. We
must present dissonant organ music sparingly on our recitals. One or two
selections of 'not too loud' shorter organ works by dissonant composers
on a recital is 100% OK, but this should be done only if the rest of the
recital is accessible to the general public-including teens and
children. Familiar or 'familiar-sounding' organ music of good quality
should be the standard for our performances. And, to that end, just
because organ music is written by Bach, or Franck does not automatically
make that music great.  Also, it goes without saying that just because
the music is by a less well-known composer, does not automatically make
the music of poor quality.
Obviously, various folks in this forum may disagree with me, including
some who may strongly disagree, but we should all remember that we must
always consider the audience that we are playing for.
Dave





--- In organfocus-newsletter@yahoogroups.com, John Mingay
<john.mingay@...> wrote:
>
> I believe it was the young Mozart who coined the phrase "The King of
> Instruments" (but I may be wrong).
>
> As many have said, repertoire is part of the problem, perhaps the
> biggest part.  I've attended a number of the free Sunday afternoon
> recitals at Westminster Abbey
> and St Paul's Cathedral in London   The crowds waiting for the doors
to
> open are huge and, I guess, mostly tourists just wanting to see the
> wonderful architecture.
> We are herded into our seats by kindly but officious vergers and
> programmes are suppled.   I've noticed that many people don't even
> bother to open up their programmes
> to see what's going to be played - therefore they can't be organists
or
> even have a passing interest in organ music.
>
> Often we have been fed large chunks of Messiaen (what do the untutored
> listeners make of that?) and page after page after page of the most
> indigestible music.
> Although the recitals or not long. 45 minutes at most, people often
> walk out after a very short while.   It is doubtful whether they will
> ever go to an organ recital again.
> Organists playing for organists can include the Schoenberg Variations
> and we listen with a degree of understanding, organists playing the
> same type of music to
> non-organists may think they are 'educating' them - BUT POSSIBLY IN
THE
> WRONG DIRECTION.
>
> Promoters of organ concerts must instruct their performers to tailor
> the programme to the audience or be prepared the accept the
> responsibility for turning people away
> from organ music in general.  Genuine organists will be prepared to
> recognize the need for an 'easier' diet in these circumstances.
>
> Even the uninitiated must be thrilled by the huge sounds being thrown
> around a vast church but those sounds have got to be intelligible.  To
> a certain extent most organists are
> megalomaniacs at heart (I put my hand up, I'm guilty) but as I
approach
> my dotage I find I'm even more satisfied with a beautiful flute on a
> single manual instrument.
> In my years of concert giving I've always tried to tickle the ears as
> much, if not more, than 'bombarding' them - pun intended!
>
> I could go on but that's more than enough for now.       Best
> wishes............ John  Mingay
>



[Non-text portions of this message have been removed]

Andre' Rieu found the key to bringing classical music to the masses. Making
  it fun and entertaining.
Perhaps other classical musicians would be more successful doing the  same.
Chuck


In a message dated 6/12/2010 12:49:45 P.M. Central Daylight Time,
jajonino@... writes:




Years ago Samuel Swhhrtz (sp?) published an article in the AGO magazine
posting the results of a survey he had done of people attending the
Sundayafternoon concerts at the church he played for n Pasedena CA.  E.E.U.U.
THe attendees reported liking selections by Bach and Buxtehude  (and
Baroque in general) the most and Vierne and Widor (French Romantics in  General)
the least.From this data Dr. Swhartz came to the conclusion that we  needed
to play less Bach and more Vierne and Widor. This seemed like an odd
conclusion to me i.e.survey people to find out what they like and then insist 
on
giving them more of what they say they don't like and deny them that which
they like.
A friend said it was obvious to him that we had to play more  Vierne and
Widor so that public would learn to like it as much as Bach and  Buxtehude.

I am not sure what the answer is but I know this: When I am  in Mexico
playing Organ recitals anywhere outside of el D.F, I play to full  houses
(Including Catedrals that seat 2000 people) that is if the concert is  sponsored
by someone and admission is free, but charge as little as 20 pesos  and
attendance is cut in half.
In the US I can draw 100 people under just  the right circumstances if
admission is free. In Mexico City it is much the  same as in the E.E.U.U.
I think the biggest problem is basically the number  of entertainment
options people have today, especially in large cities. (Which  is why el D.F.
has
the same attendance numbers as the E.E.U.U.) In the smaller  cities and
towns of Mexico, it was likely that I was the only live event in  town that
week, or possibly that month, therefore is people want to get out of  their
houses for entertainment, I was the only option. I think that was why  people
like Edwin Lemare had the audieneces he did in the early 20th cent. as  well.
He was the only show in town for the weekend, so he could play in a  Civic
audtoruim that soldout three times in a weekend for his concert. Some
people have said it was because he played more transcriptions and less
literature,but I think it was probably a more a case of being the only show in 
town,
coupled with being a great showman and a good player. There will be the
ocaasional Virgil Fox, Jean Guillou, Cameron Carpetner, etc (although  I
have been to concerts by these people that were less than sold out) who
are good showman and play literature the masses enjoy. What the rest of us can
  do I'm not sure. I know we must play whatever literature we chose to play
well  and make it come to life in some way.
My teacher, Anthony Newman, (not  exactly popular with the purists when he
first appeared on the scene, but he  frequently played to full houses of
people who didn't care about purism, just  that his music making was exciting,
although he was great student of  performance practices himself and believed
in trying be exciting in a  stylistically appropriate way) used to say you
have to make a leap of faith  from all your study of performance practices
into actually making an exciting.  viable performance that comes alive.
I think there can be an audience for  esoteric early literature, but so
many of us worry about whether or not we are  doing it "styllistically Correct"
-(S.C.- the musicians form of PC) If you do  chose to play some of that
literature I would suggest making sure you do  something make it come alive for
the audience, even if you are not excatly  sure about altering this rhythm
or adding that ornament, go ahead and do it if  there is the slightest
possibilty it could be correct and if it makes the  music more lively.
All the best to everyone and if I'm ever in your town  when you are playing
I will attend enthusicatically, because if we can't  support our fellow
organistas, even when we don't agree totally with the  performance, we
certianly can't expect any better from the general  public.
John

[Non-text portions of this message have been  removed]





[Non-text portions of this message have been removed]

Dave...
You summed it up perfectly.  I'm not a professional organist.. just  love
the organ and can play well enough to play hymns in churches that I've done
most of my life..  I'm saving your email because you identified what I've
had difficulty expressing myself.
THANK YOU,
Chuck


In a message dated 6/12/2010 12:46:43 P.M. Central Daylight Time,
pipeorgandude@... writes:




Yes, I agree with you 100%, sir. Repertoire is indeed important.  I
remember hearing a very well known organist on a very large  instrument
(albeit in a room, though large, was very "dry" acoustically) at  the
1990 AGO National in Boston. This organist chose organ music of  the
'art deco' era - e.g. Bennet, Sowerby, etc. The playing was  note
perfect (almost annoyingly note perfect), relatively musical, and  the
registrations were fairly close to ideal - but - and this is a big  "but"
- the music was BORING, BORING, BORING! Except for some of the  Sowerby,
the rest of the music sounded either sleepy when slow, or just a  bunch
of notes strung together when faster tempos were involved.
The  general public was invited to this recital. During the recital, I
am of  course thinking, if this music is boring for ME, what must it
sound like to  the general public? Needless to say, organists and
non-organists alike  walked out at various points throughout the recital.
The Sowerby was  programmed last on the recital, and since I do like a
number of his works,  I stayed throughout the entire recital (mainly
because I am a bit of a  musical masochist at times).
At any rate, as much as some of us might love  their music, we organists
need to save the all 'Art Deco', all Bach, all  Buxtehude, all Franck,
all Renaissance, all Messiean, all Langlais, all  Pinkham, all any
composer/time period for the recitals that we play for  each other. We
must present dissonant organ music sparingly on our  recitals. One or two
selections of 'not too loud' shorter organ works by  dissonant composers
on a recital is 100% OK, but this should be done only  if the rest of the
recital is accessible to the general public-including  teens and
children. Familiar or 'familiar-sounding' organ music of good  quality
should be the standard for our performances. And, to that end,  just
because organ music is written by Bach, or Franck does not  automatically
make that music great. Also, it goes without saying that just  because
the music is by a less well-known composer, does not automatically  make
the music of poor quality.
Obviously, various folks in this forum  may disagree with me, including
some who may strongly disagree, but we  should all remember that we must
always consider the audience that we are  playing for.
Dave

--- In _organfocus-newsletter@yahoogroups.com_
(mailto:organfocus-newsletter@yahoogroups.com) ,  John Mingay
<john.mingay@...> wrote:
>
> I believe it was  the young Mozart who coined the phrase "The King of
> Instruments" (but  I may be wrong).
>
> As many have said, repertoire is part of the  problem, perhaps the
> biggest part. I've attended a number of the free  Sunday afternoon
> recitals at Westminster Abbey
> and St Paul's  Cathedral in London The crowds waiting for the doors
to
> open are  huge and, I guess, mostly tourists just wanting to see the
> wonderful  architecture.
> We are herded into our seats by kindly but officious  vergers and
> programmes are suppled. I've noticed that many people  don't even
> bother to open up their programmes
> to see what's  going to be played - therefore they can't be organists
or
> even have  a passing interest in organ music.
>
> Often we have been fed  large chunks of Messiaen (what do the untutored
> listeners make of  that?) and page after page after page of the most
> indigestible  music.
> Although the recitals or not long. 45 minutes at most, people  often
> walk out after a very short while. It is doubtful whether they  will
> ever go to an organ recital again.
> Organists playing for  organists can include the Schoenberg Variations
> and we listen with a  degree of understanding, organists playing the
> same type of music  to
> non-organists may think they are 'educating' them - BUT POSSIBLY  IN
THE
> WRONG DIRECTION.
>
> Promoters of organ concerts  must instruct their performers to tailor
> the programme to the audience  or be prepared the accept the
> responsibility for turning people  away
> from organ music in general. Genuine organists will be prepared  to
> recognize the need for an 'easier' diet in these  circumstances.
>
> Even the uninitiated must be thrilled by the  huge sounds being thrown
> around a vast church but those sounds have  got to be intelligible. To
> a certain extent most organists are
>  megalomaniacs at heart (I put my hand up, I'm guilty) but as  I
approach
> my dotage I find I'm even more satisfied with a  beautiful flute on a
> single manual instrument.
> In my years of  concert giving I've always tried to tickle the ears as
> much, if not  more, than 'bombarding' them - pun intended!
>
> I could go on but  that's more than enough for now. Best
> wishes............ John  Mingay
>

[Non-text portions of this message have been  removed]





[Non-text portions of this message have been removed]

A colleague has pointed out to me that the work which Olivier Messaien premiered
in March 1972 at the National Shrine of the Immaculate Conception in Washington
DC was actually the "Mystere de la Sainte Trinite".

I stand corrected.

It was VERY difficult to grasp upon first hearing.  But, a couple of years
later, Jon Gillock performed it in New York City.  On that occasion, I found it
easier to understand --- without having to resort to program notes.  Just
because a work is difficult to understand on first hearing does not mean that it
is without merit.  I would think that this would be self-evident.

Arthur LaMirande





[Non-text portions of this message have been removed]