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Subject:
From:
Meg Irwin-Brandon <[log in to unmask]>
Reply To:
Meg Irwin-Brandon <[log in to unmask]>
Date:
Sun, 22 Oct 2006 13:36:10 -0400
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Since I've been associated with some of those "excruciating" harmonies, 
I've decided to drop in with a couple anecdotes:

Some years ago I arranged for time on the Schnitger organ at St. Cosmae 
in Stade, N. Germany. The resident organist accompanied me to the 
console and I began my customary explorations by improvising my way, 
beginning with the Hauptwerk Principal. It was Schocking! The organist 
screamed at me "Halten Sie, Halten Sie; die Orgel is Mitteltönig!"  
("Stop! Stop! The organ is mean-tone!")
Well, yes, I knew that, but I'd begun my adventure, forgetting that it 
was also tuned at the higher pitched "chor ton'  and, hindered by 
perfect pitch, I was immediately at war with the familiar keyboard and 
the unfamiliar tonality my "improvisation" gave rise to.  I was, 
really, lost - for a moment.  When we both settled down, I started 
again, in the appropriate keys, and found it delicious.

As a student with my Masters Degree from the New England Conservatory, 
some years before the Stade experience, I began studies with Karl 
Richter as a Fulbright scholar. He immediately put me through his 
beginners drill - the "Orgelbüchlein" (beginning appropriately enough 
with Âlle Menschen müssen sterben), played by memory, and transposed 
into the four neighboring keys. Of course, the organs we played were in 
equal temperament.

So, I suppose, if I had REALLY wanted to, I could have transposed that 
Buxtehude G Minor Praeludium for the OHS audience at Wellesley College, 
but no. I did not. It was in a tuning with which Buxtehude was most 
familiar. If it was disturbing, just ask, "why?"

  Margaret Irwin-Brandon
385 Worthington St
Apt 3D
Springfield, MA  01103-1322
413-733-2380

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