[rodgersorgan] Registrations
- From: Srorganist@xxxxxxx
- To: rodgersorgan@xxxxxxxxxxxxx
- Date: Mon, 30 Jun 2003 16:26:24 EDT
Hello all,
Everytime I see this subject come up, I have to laugh. For many years I used
to assist an organ serviceman when he worked in my area, usually holding
keys. I was always amazed at the combinations most organists had on their
pistons. Usually celeste stops in full combinations and then complain that the
organ
sounded "wavy" and not in tune.
I was told many years ago that it didn't make any difference how well one
played, if they didn't know what stops to use, they were better off not to sit
at
the console.
A number of years ago I attended a master-class conducted by Catherine
Crozier. She told the story of having played a recital some years previously
at a
church that had a very nice pipe organ, well voiced and balanced. About five
years later she played a recital at the same church. The organist proudly told
her when she arrived that she "wouldn't have to set pistons because she (the
organist) hadn't changed them since Miss Crozier had played there before.
Okay, so much for the theory that every piece can be played using the same
pistons.
I think that registration of a given piece continually changes, even on the
same instrument. Your hearing changes, you've heard someone else play the
piece with an entirely different concept of sound or the room has been
carpeted,
etc. I've found that I either augment or drop stops when playing a work
another time. Again, it's personal taste. Many composers and arrangers give
good
registration suggestions that generally work. However, there are a few who say
something like "full swell" or "great without reeds". What is "full swell".
Is it with or without reeds? Do you use mixtures?
Sometimes it's actually nice to disregard suggestions altogether and quietly
play a piece for communion (because of the beautiful harmonies) that could be
more appropriate for a postlude in another service.
The last several months I've been playing in a church that has a "blended
service" (whatever that term really means) and find that my registrations on a
3-manual Rodgers have evolved in a direction different for a more liturgial
service. I've even used the "Tibia and Vox" on some gospel hymns and had
people
lined up after the service to say "That took me back to the days of the Orpheum
Theatre". So be it.
David E. Dillon
Organist, St. Paul's Methodist
Tulsa, OK
Owner of a 950 (which is on loan to the church)
!
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