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The Diapason an International Monthly Devoted to the Organ, the Harpsichord and Church Music

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The Diapason an International Monthly Devoted to the Organ, the Harpsichord and Church Music THE DIAPASON AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN, THE HARPSICHORD AND CHURCH MUSIC Si:d,.Sixth Year~ No. ! - Whole No. 785 FEBRUARY. 1975 Anteri~an Guild of Organists MmlVINTER CONCLAVE Bousion~ Texas De~. 26-28 In the Franck. tbe Germanic reeds worth. visiting. Private toun had been discipline usually begins with years of by Lat'ry Palmer were jarring. but Mr. Anderson's over­ arranged so the delegates had a more study of theory. harmony, and countcr­ all sense of tlle musical architecture was inclusil'e showing than usual. point, followed by exercises in writing superb. The 4taize. a sort of "Wedge" William Teague'. late afternoon reo and impro"ising canons. duos, trios, in· fugu~ a la Buckminster Fuller, received cital at Moody Memorial Methodist ,,'entions, and eventually fugues - all a scintillating performance. although in Church was entitled "Goodby to Christ· using traditional harmonies. Not until our opinion there arc more notes than ...... " the grammar lessons arc completely 3S· Nearly 150 ugistrants came to Hou~ music in this work. Program: NoS X, Grand jell el duo, similated does a French student begin lon, TL"Xas for the annual midwinter Following the recital, a modest group Daquin: Allein Gott in dcr Hah' lei Ebr' constructing his or her own freer musi­ (Le.. post.Christmas) get-together spon­ of people gathered for the "Get·Ac· (ClavierQbung III). Bach: Les Bc!rgc.rs, cal language in the paraphrase, toccata, sored by the AGO. For those from quam ted" hour at the conclave head. La Nativi~, Messiaen; Varladom lOr tryptique, ,'ariation. or the larger free northern climes who hoped to escape quart('rs, the Marriott Motor Hotel. For un NoCJ., Dupre. [orms such as the symphony. the blahs of winter. Hou lSton did not c0- most it was a "get RE-acquainted" time The Reuter organ of Moody Church. Perhaps Mr. Woods was wise in de­ operate. December 26·28 proved to be that went on until the wee houn. buried behind reredos screen, bas noth­ emphasizing the tools one must posst."SS unseasonably cold for Texas with over· Friday morning's activities were noo· ing in common with the French Ba· in order to impro\ ise well. since few cast skies and a persistent rain or threat music-dl: a sight-seeing tour of NASA roque. Mr. Teague's lackluster playing Americans would ever ha\'e the courage of it. We have noticed, howe\'c:r. that or· fonowed by lunch at Jimmy "Talker's of the Daquin NoCl with its prosaic or the skill to begin the kmg. strict dis­ ganists determined to have a good time - a sea[ood restaurant perched over "'tum-ta tum" interpretations of "notes ciplinary process. Therefore he demon· do not let anything as trivial as inclem­ water on the way to G~.Iveston. The re­ iQl!gal" did not set a very exciting pace strated from the keyboard his own stair· ent weather stand in their way. Leisurely mainder of Friday was devoted to ac· for his recital. The Bach trio suffered step method, easily grasped by all. en· planning and efficient bus tr.msporta­ tivities in the city of Galveston, begin· from the organ's marked imbalance be­ couraging the least \'ened in theoretical tion allowed anyone who wished to do ning with Marllou Dc Wall Kratzcn· tween divisions (with the pedal only a matters to begin doing ·-something." so to attend c\'crything on the program. stein's lecture-recital on ''The Art of faint echo from some far away spot), bad or good, ignoring any faults or mis· We drove to Houslon from Dallas the Articulation in Baroque Music" at First and the playing was an excellent exam· takes which might occur. In these exer· day after Christmas, arriving too late to Lutheran Church. pie (to complement the lecture of the cises. then. Mr. Woods places all the attend the workshop given by l'aul SalOl­ l'rogram: Prelude and Fugue in E afternoon) of non·articulate playing. emphasis on rhythm. which he describes munovich and the Singing Boys of Hous­ minor, Bnahns; Mein junges Leben bat The Messiaen shepherds sounded as "the primary human response to the ton. We aITh·ed. in fact. just in time ein End', Swcelinck; Fantasy and Fugue llightly geriatric; the mystique and artiH1r. impulsr ," to get lost, to have dinner. and to find in G minor, Bach. color of this music needs a reverberant Curiously. quotations used during the the Church of St. Vincent DePaul where The Freiburger tracker organ, en­ roam and a colorful organ. We realize lecture were [rom l'enichetti. and mu· Robert Anderson played the opening cased in the rear gallery. with R uck· that it is not altogether fair to blame sical themes [or the paraphrase were recital of the Cond a\'c on the ne\\' Rie· posith' on the gallery rail, proved to be a guest artist for the inadequacies of chosen from compositions by Mousorg­ ger tracker organ. a finc instrument [or Ms, KratzenslCin's the inl5l rument. but it is impossible to sky. Grieg, and Mt.'S5iaen. French impro· Program: Preludt! and Fugue in G playing. ]n her clearly delineated talk, separate this from the mwical results. visers however almost always usc Ger· minor, Bruhns; Six SchUbler Chorales, the artist defined articulation (the sepa­ The Dup~ variations reminded us man: gorian themes for tllis form. Bach; Preludt! and Fugue in C, BWV rating and grouping of notes within a and more of a legacy from the silent Nevertheless, the small audience ap­ 547. Bach; ParUla opus 8/ 1, Nun komm musical line) and pointed out that long movie era, but, given the limitations of preciated thc two impro\·isations. both der Heiden Heiland, Distler; Priere, slur lines, common to the 19th century, the organ on which it was played. it of which wandered through their rcspt.'C· Franck; Prelude el Danae Fugue, Litaize. were never found in Baroque music. received an adequate performance. The til'e forms with little focus or direcuon, The banks of red pD:insettias in this Quoting Marpurg (1761 ). ·'Ordinary Vox Humana was the most musical hannonically unstable and melodically impressh'e church building reminded movement, contrasted to legato and sound of the organ. undefined. The second, a choral On1~, us that it was indeed, Christmastide. The staccato, is non·legalo - or lifting the The Galveston trip climaxed with a was easier to follow and generally more organ, encased in the rear galley, seemed finger be[ore striking the next note." superb buffet supper at The Flagship. successful. the presence of the trumpet well·suited to the largely Gennanic pro­ she then proceeded to demonstrate ,'ari· the city" newest hotel built on a pier played by Thomas Parriott adding a gram, altllough it sounded quite thin ous articulations in examples from Bach, on~r the Gulf. Both the meals on Fri­ welcomed dimension. in its plenum. We ha\'e heard Dr. An­ Scheidt, de Grigny and Clerambauh. day (and the ncxt day's lunch. as well) If the purpose of this meeting was 10 derson play on many occasions, and this and she showed clearly that the finger were included in the registration fcc. inspire organists to begin to improvise. was not one of his better ennings. It substitutions of a Dupre edition are This was a fine idea, but the facts it was successful in that it gave those is un[ortunate that this gifted artist con· absolutel)" unnect.-ssary when stylistic should have received morc prominence who have no background in this area a [uses spetd wtih excitement - some· articulations arc employed in playing. in advertising. for the registration fee handle by which to grasp the subject. {bing which may indeed show his own In her chosen program, Ms. Kratzen· for the conclave seemed inordinately On the other hand, if it was. as the title cxcitement. but which docs not convey stein was most successful in conveying high unless one took these bonus meals read, to demonstrate the French style the same impression to his audience. the lively sense of rhythm which proper into consideration. of improvisation. then it fell short o[ The Bach chorale preludes benefitted articulauon can impart. The organ, The conclave planners had orches­ attainmg its goal. greatly from ha"ing the chorales sung by while not in tunc, did not hinder her trated their acorc with a fine and steady - Susan Ingrid Ferre soprano Barbara Marquart in a gentle. musical concepts. The contrast of the crescendo into the finale. Thus it was unforced manner to the accompaniment new organ with the old electro-pneuma. that Saturday held a plethora of events. of an 8' Gedackt. The Bach prelude and tic instrument in chamben above the the fint of which we did not attend. A TIle second organ e\'ent of Saturday fugue lacked a sense of climax at the choir (the instrument used for exam· report on this e,'enl. the lecture by morning took place in St. Luke's Metho­ climactic chords in each movement. The pies while she lectured from the front Richard Woods, reviewed by Susan dist Church. one of the typical Georgian Distler was simply played tOO rapidly ot the church) was worth a thousand or Ferre, foUows. structures of southern Methodism, car· throughout; this treatment worked bt."St so words. peted and plastered with absorbant mOl· in the opening and dosing tocca t;as ]t was a fine idea to have sightseeing The dark, driuly morning began with terials on every available inch. The or­ where Dr. Anderson was able to demo toun of historic Galvcston to fill the a potentially mind'awakening lecture­ ganist of the church, Robert Bennett onstrate his truly enviable pedal tech­ gaps between two organ recitals.
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