April 24, 2008 by rohrwerk.

Music that focuses on relaxation without sounding like Muzak? MDR Klassik has it right in their Musik zum Träumen (i.e., Music to Dream By) slot from 10pm-12am German time - which also ends up in a nice time in my workday that can use that kind of mood (3-5 pm US Central time). Adagios galore, and a new age piano piece or two thrown in, with no announcements. The slow movement from Rachmaninoff’s second piano concerto, those tender movements from Bizet’s L’Arlesienne featuring flute and harp, unfamilar adagio movements from symphonies… on and on, without even having to strain your brain to make out the German announcements. The excerpts from Wagner’s Parsifal might grow to full orchestra and shock one out of one’s twilight meditations, but on the whole it fits the mood -  I mean, not every single moment can be meditative, what the hey…

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April 23, 2008 by rohrwerk.

Following up on an old post, a Buzard organ went in down in Mount Pleasant Lutheran Church, near Racine, WI (in the town of Mount Pleasant, logically enough …) and the Milwaukee AGO chapter and the church co-sponsored a wonderful program by Mary Preston on April 22, 2007. The builder’s page on the organ is found here. The chapter’s Pipenotes newsletter contains details and an organ spec, but not the full program, so I’ll only give you a few highlights.

A talk beforehand by the builder, John-Paul Buzard, and acoustician Scott Riedel gave an idea of what they were up against, and still are to some degree. Basically, only a few acoustic improvements could be made in the unusual space, and then it was up to the builder to make the sound work in the dead space. The choice was a very dark sound, which supported singing well with a fine foundational feeling in the “gut”, but which at times left one at least wanting a little bit of bite and brilliance. Still, the choice might have been wise considering that many seats are very close to the organ, so a bit more to the brighter side and these folks might be blasted out of their seats.

Mary Preston’s program exploited the instrument well… my biggest memory is the Joseph Jongen “Sonata heroique”, a fiendish work which got a brilliant reading in the daunting acoustic. A rich clarinet and solo flutes were the highlights of the soft parts, and the copper chamade reed did not at all “part your hair” but capped the full organ quite nicely. More as I remember it…

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April 17, 2008 by rohrwerk.

Playground on RBB Kulturradio is a late-night (German time) program of world music… and I was brought home in an odd way by yesterday’s broadcast of music by Krishna Das, an American convert to Hinduism who is becoming well known for an American version of the kirtan, a devotional singing style which even in recordings just gives you the feeling of getting right to the root of all of humanity’s spiritual strivings. German radio playing an American Hindu’s devotional music influenced by the spiritual culture of India!

Of course anybody of my generation knows the flirtations of the Beatles with eastern cultures - George Harrison’s “My Sweet Lord” being the best known setting of the “Hare Krishna” chant …

Why did this come off as a “homecoming”? Well, I’ve had a few brushes with the East and various East-meets-West figures in spirituality… In the late 70’s, at a visit to St. Joseph Abbey in Louisiana, I heard a talk by the late Bede Griffiths, a British Benedictine who worked on the fine border between Hindu devotional culture and Catholic monasticism. A disciple of his, Russill Paul, is a musician offering workshops incorporating Hindu customs and a Christianized version of this participatory musical style, and at one of the “Creation Spirituality Workshops” (influenced by Matthew Fox) in the 90’s I encountered him leading us through “Om nama Kristai”, a chant with movements that meant something like “Christ, I surrender all to you.” (I actually got to jam with him later at another event too!)

The centering quality of this music has been absolutely amazing - a bit of downloading from Napster and a quick capture of the samples from RBB’s webcast have kept me in peace for over 24 hours now

The renewed question for the classic church musician in me… not to neglect the devotional, irrational, repetitive, mantra-like aspects of music and meditation. Especially walking among Lutherans now, this becomes a great concern - how easy it is for them to think rationally, verbally efficiently, in a time-limited fashion, and lose the ecstatic, interior, meditative aspects. (Catholics who like their short, spoken “low mass” might fall in the same category…) Yes, Taize and traditional Western chant has some element of this, but are a few snippets from this repertoire enough? What about worship planning, where so much concern for time leads sometimes to minimizing redundancy, “cutting for time,” picking the “shorter option” instead of really getting people caught up in the prayer. A never-ending quest…

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April 16, 2008 by rohrwerk.

Classical radio in Milwaukee was never all that great since the departure of WNIB/WNIZ in Chicago/Zion, IL about 3 years ago… and now the local commercial classical station, WFMR, dropped the classical format about a year ago. Bummer.

The options:

• HD radio
• Satellite radio
• The Internet

In Milwaukee, Wisconsin Public Radio’s WHAD has a second HD radio program with only about 6 hours of locally originated programming, the rest a canned satellite feed. Is that worth getting a mobile HD radio for? Not for me… though at home it’s nice to have the option on the Polk iSonic, an excellent tabletop radio. XM Satellite Radio (which I also get on the iSonic) has about 3 “okay” classical channels but I don’t know if I’d run out and get an XM subscription and mobile satellite rig just for them…

The Internet is by far the finest source of varied classical programming, which I’ve long known at home. But how to get it mobile? Well, surprise, a company discount on an all-you-can eat Sprint data plan came to the rescue. The phone is a Sprint Treo 755p, and with proper adapters, a cheap car amp, and speakers I get the world (literally) of classical listening with surprisingly few hiccups while on the road in a company truck. One piece of purchased software for the phone (Kinoma Media Player) handles internet radio fairly well, and Sprint’s connection at its best handles hi-fi 128kbps connections quite decently. AAC, mp3, and Windows Media formats are available with good smartphone software - Real formats are not as well supported, if at all, so the BBC’s fine programming on Radio 3 isn’t mobile friendly yet.

The quick list of favorites:

• WFMT, Chicago
• Classical Minnesota Public Radio
• German state radio networks, especially HR2, MDR Klassik, SR2, RBB Kulturradio

Once programmed into the phone, the list is easily accessible to punch in. Several of these have wonderful church music programs, my favorite being HR2’s “Geistliche Musik” from 6-8 am German time. See my list http://churchmusicprograms.seboldt.net for more information over time.

Interested? Well, unlimited plans (including internet) are now the rage with the wireless companies, and you can get good smartphones for $100-200 after rebates. Check around for what’s available in your area - Sprint’s data service is the best so far, despite some bad press on Sprint in general, though others are catching up with new “3G” higher-speed wireless services in major cities. Of course you can always go for the expensive trendy iPhone from AT&T, which will likely do a great job on internet radio (although the less robust AT&T data network might not work as smoothly for high bit rates…)

Ready for the mobile Internet radio revolution?

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June 12, 2007 by rohrwerk.

This is the beginning of some travelog notes on the 2007 tour to Germany by the Senior Choir of Our Savior’s Lutheran Church, Milwaukee, Wisconsin (Michael Barna, director, John Seboldt, organist)

Michael organized this in connection with a sister city relationship between Brookfield, WI (in Waukesha County) and Seligenstadt, Germany (in Kreis Offenbach). With Seligenstadt and Kreis Offenbach officials doing most of the organizing, it should be a very hospitable affair.

The singing itinerary is:

• June 10 - Our Savior’s (bon voyage)
• June 15 - Dom, Mainz (informal)
• June 17 - Basilika, Seligenstadt (Sunday Mass and afternoon concert)
• June 19 - Thomaskirche, Leipzig (informal)
• June 21 - Kreuzkirche, Dresden (informal)
• June 23 - Nieder-Roden (at 135th anniversary celebration of the Sängerkranz Polyhymnia

A complete Google Map is at this link. A PDF scan of the program is here, basic listing below

Go Not Far from Me O God Zingarelli
Christus factus est Bruckner
Alleluja, surrexit Dominus vere Jachet de Berchem
A Modern Medieval Carol Mawby
Were You There? arr. Burleigh
Sing Unto God Fetler
The Lamb John Chorbajian
Little Lamb arr. DeCormier
Simple Gifts arr. Marie Pooler
Joshua Fit the Battle of Jericho arr. John Purifoy
I Have Dreamed (The King and I) arr. Kirby Shaw
Over the Rainbow arr. Emerson
Ev’ry Time I Feel the Spirit arr. Dawson
A Gaelic Blessing Rutter

Some short solo playing opportunities for me will be connected with the programs. In Seligenstadt, my emphasis will follow that of Mike’s choral programming: American music with a popular flavor, without ignoring classic European selections!

Three Global Songs (Halle, Halle / Linstead / Siyahamba) John Behnke
Benedictus, op. 59 Max Reger
Every Time I Feel the Spirit Adolphus Hailstork

Other selections prepared:

Prelude and Fugue in G, BWV541 Bach
Te Deum, op. 59 Max Reger
Sonata 2: Maestoso Gustav Merkel

Numerous other Bach works, Mendelssohn sonata movements, etc. will pour out of the memory on encountering appropriate historic instruments. The only pre-arranged historic organ visit is a time slot at the Trost organ, Schlosskirche, Altenburg, with its close connection to Bach. See the Google Maps entries for links.

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July 10, 2006 by rohrwerk.

Who would know that our little last-minute visit to Summerfest (”the world’s largest music festival” in Milwaukee would turn out this way? With a 30% chance of rain forecast, we got more than 100% worth of water and some good Gospel music while waiting out the storm.

Arriving at about 5 pm, on the last day, we were fortunate enough to get free tickets from somebody at the gate. On the way in, we saw what looked like a little storm cell off to the west, and figured that would pass over quickly. $5 parking only 7 blocks away sweetened the deal. So all that cash went to a good mix of bratwurst, hot dogs, Thai food, fish-n-chips, pizza, soda, ice cream, and wine.

With little time to start looking around for music, we heard one up-and-coming rock band, then the rain started! Then stopped. Then the rain started in earnest. Fortunately, the nearest roof was on the Potawatami stage, where loud Gospel music by “the Mt. Olive choir” was in full swing, about 20 well-disciplined singers, bass, drums, pseudo-piano, guitar, and a real Hammond B3 with Leslie. And it was loud, louder than the rock band we’d heard previously. And it was church, of course, in the black Gospel tradition. “Can you feeeeel the Hoooooly Ghost?” And the rain, and the wind, which whipped up and blew water in on us and the stage, even though we were on the downwind side of the pavilion?

Wow.

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July 10, 2006 by rohrwerk.

These have been circulating on the web for a while, but are worth mentioning again… sung by the Master Singers, according to an anglican-music mailing list post…

http://marguerite.ca/images/mastersingers.mp3

http://homepage.ntlworld.com/thegablehouse/chris-j/highway.mp3

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July 8, 2006 by rohrwerk.

Buzard instrument 15 miles away from me! Mount Pleasant Lutheran Church, Racine, WI (town of Mount Pleasant), will install 39 ranks this fall.

Church site

Buzard site, specification (pdf)

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July 5, 2006 by rohrwerk.

Looks like my Valparaiso photo link page has been well used - thanks for your interest! I did go through and add some photo annotations to it: http://lorenz.seboldt.net/photos/060703-valpo/images.html …

RECITAL by James O’Donnell

It is fortunate that life moves on after sad organist/clergy relationships led to the sacking of the noted Martin Neary at Westminster Abbey a few years back. James O’Donnell has kept the noted royal landmark hopping musically since his appointment in 2000, and he even passed through Westminster Cathedral (Roman Catholic) on his way there! (I only mention this because it was such a big deal years back when Stephen Cleobury was the first Anglican musician to be appointed to Westminster Cathedral, so it looks like, whatever faith community Mr. O’Donnell belongs to, that it appears to matter less to the authorities these days.) The ChicAGO bio of him is at http://www.agohq.org/2006/html/artists/odonnell.html …

As a player, O’Donnell wonderfully balances technique and musicality, both of which were needed to sell a powerful but austere program. The program was billed as exploring various aspects of “fantasia” or “freedom” (my printed program got lost, so I’m operating from memory). Needless to say, the instrument was up to the task as well!

Michael Berkeley (son of Sir Lennox Berkeley) was represented with the 1986 composition “Wild Bells”, a colorful tintinnabulation. Bach’s “Pièce d’Orgue,” BWV 572 (aka Fantasia in G Major) was perfectly well-done, the only opinionated comment being: why the relatively light plenum in the middle section?! (Guess I just wanted to hear that Great 16′ based plenum, darn it!) With all the evolving knowledge on the “gravität” of Bach’s preferences and the huge weighty choruses of organs close to Bach, it just seemed a bit wimpy. Minor nitpick…

A commission for the convention, Augusta Read Thomas’s - “Angel Tears” and “Earth Prayers” for organ and trumpet (2006) were welcome lyrical additions to the organ/solo instrument repertoire. Kevin Hartman, trumpet pulled off some very lyrical music in the high register, not achievable by many more average players most of us are likely to work with - but fear not, the composer, in true “gebrauchsmusik” spirit, recommends the work to practically any solo instrument, with parts in various transpositions provided.

Who can resist the powerful wailings of the Jehan Alain “Deuxième fantaisie?” I myself have always associated this with Good Friday, but have usually followed the paradigms of minimal instrumental support on this day, so have never followed up on this mental connection. Nonetheless, hearing this, watching the wash of stained-glass up front, and connecting this with music of Alain heard in this place in my formative years, made this a highlight for me.

A new and delightful discovery for me - the 1989 composition “Miroirs” by the Dutch composer Ad Wammes. The most delightful little ostinato/scherzo piece you could program, perfect for showing off colorful prompt flutes - all the delight of something like Vierne’s “Naïades”, with half the difficulty! You can hear audio samples and see a sample first page, and order the piece for 12 euros, at the composer’s web site, http://www.adwammes.nl . The wonderful quiet titterings from the audience as the piece ended testify to a great shared delight in the work, so perhaps this little gem will show up more often - it’s not that unknown, having been played by the likes of John Scott and recorded by Thomas Trotter at Birmingham (UK) Symphony Hall.

OK, now, you want something that transcends the Duruflé Toccata for gnarly, knuckle-busting dark sonorities? Try the 1970 “Toccata” by Patrick Gowers on for size. I first heard this on a BBC Choral Evensong broadcast (there’s also a fugue that goes with it, but it ends quietly, so I can see why it might not have been played today), and found it quite gripping. Personally, I’ll be lucky if I finally take on the Duruflé before I die, but it’s nice to know there’s something even beyond that devilish deluge of notes.

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July 5, 2006 by rohrwerk.

So, after Dobson’s renovation in 1996, we have just enough extra weight
without the sizzle, an extra foundation division (Solo), a bit of
revision in organ layout, completion of most of the basic 3-manual
scheme, and a few additions such as the “Chalumeau” (Cromorne), and some
harmonic flûtes to die for. Final spec from the Dobson site is here:

http://www.dobsonorgan.com/html/instruments/resto_rebuild/valparaiso.html

Now, the opening service…

Christopher Cock’s Valparaiso University Bach Choir is a premier group
by any standard, auditioned from a wider pool than the student body -
see http://www.valpo.edu/bach/bach_choir.html - beginning with Bach’s
memorable little early motet for double choir, “Ich lasse dich nicht, du
segnest mich denn” , a Mendelssohn setting of Psalm 43, and Bach’s
motet, “Lobe den Herren, alle Heiden.” . Hymns were grandly set by
Richard Webster, one being the hymn used for the dedication of the
Letourneau organ in Houston, TX (cover feature of TAO a while back).
Proulx’s commissioned piece, “Works of the Great Spirit”, based on
native American texts, was a moving exploration of the “we are all part
of creation” spirituality… Richard Webster took on the Auden “He Is
the Way” text, another commission for the convention. A rousing
rendition of the Vierne Finale from Symphony I by Martin Jean only
disappointed me in the lighter registrations featured in the middle
sections - I was hoping to hear all those nice “fonds” over some swell
reeds, but a different approach was taken than replicating the specified
registrations, which I can’t say is “wrong”, just that it disappointed
*me* … oh, well, what did the preacher just say about listening
with the intent to one-up your colleagues? :-) …

More…

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