The Birmingham age-herald., 1913-05-31

ieASStiSSiy
Birmingham is long on enthusiasm but
short on subscriptions when it comes to
matters musical" but If one is to gauge
the musical atmosphere by the number
of fine musicians who come here to locate
and cast their lot among us, this theory is
an exploded one before it ever takes ef-
feet.
Among the recent acquisitions to lie
Monde Musicale is the distinguished or
ganist and choirmaster. Mr.. Rienzi Thom-
as, whom the entire south knows and rec
ognizes as one of the most thorough, cap
able and talented musicians of the day.
Mr. Thomas has assumed charge of the
organ at the Highlands Methodist church,
and those who have heard his superb
playing there the last several Sundays
have been more than charmed with his
virtuosity.
Mr.. Thomas word as far as concert and
church organ music is concerned Is un-
disputed, his long service in this part
ticular musical field giving him. expert
ence and confidence in everything that
goes to make up the perfect choirmaster.
Besides being an organist of enviable
reputation, having studied both at home
and abroad, with such masters as Daw-
son. Best and others equally as notable,
Mr.. Thomas is finished pianist and
voice teacher, all of which he means TO
combine in his work in Birmingham.
1t is not amiss to say just here that
Birmingham has splendid opportunity
in her different churches just at present
- he, a. . ba
equal if not the superior of any in the
south.
OF all places in the world the church is
the one place where beautiful, impressive
music is most needed.
The magnificent oratorios, the inspiring
hymns, the old chants, the stately recess
sionals, each lend a color and effect to
a church service that is little short of
heavenly when properly rendered by beau
tiful voices and competent organist.
In chatting with Mr.. Thomas the other
day about concert and church organists
and the difference between them, MIR.
Thomas said:
VIRTUALLY, a concert organist is a
church organist. There is a distinction
without difference, generally made by
those who do not know
WHY l asked.
1.-THE concert organst differs not de-
gree from the church organist," Mr..
Thomas replied, "in that each must un-
derstand his instrument, and the concert
organist generally evolves from the
church organist in that he makes each a
profession"
..What is the most important attribute
for an organist opossess?" 1 asked
1.-The old theory that an organist can
get as good effect when he isn't mn
ished pianist as he can otherwise said
Mr.. Thomas, sis erroneous primarily,
an organist must be a pianist hrst.
There he gets his technique which is as
necessary for an organist as for pianist.
Registration cannot be taught; that Is
absolutely instructive. The organ teacner
will tell you that registration is divided
into two classes-the ground stops ana
the solo stops. After that, the organ
ist must choose and learn for himself.
lone of the most important things that
q church organist has to learn is the art of
accompanying," said Mr.. Thomas. While
the accompaniment is in itself solo, II
must be practically eliminated-When the
singer appears. That is not the time Tor
an organist Gas many suppose) TO snow OH
his technique or develop the volume OF
the organ-a mistake that is only too fre-
ouently made by the amateur. directive
combinations for voice and organ must
he made Often they are not. For in-
stance, a basso solo is presented and the
inexperienced organist construes his ac-
commandment with the vox celeste the
flute d'amour, or some other soft four
foot STOP The effect is impossible. On
the contrary, a soprano solo is accom-
panied by an eight foot diapason, which
is lust as ineffective as soft stop is
with the basso. The question Of registra.
ton is. absolutely left to the personal