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Virgil Fox – In Concert

Label: Sine Qua Non – SQN 146/3

Format: 3 x Vinyl, LP, Album, Limited Edition

Country: US

Released: 1974

Genre: Classical

Style: Baroque, Classical, Romantic, Organ

Tracklist

A1 Prelude And Fugue In E Minor, Bwv 548, "Wedge" 13:33

A2 Chorale: Rejoice, Beloved Christians 1:47

B1 Toccata 2:32

B2 Fantasia On The Chorale: How Brightly Shines The Morning Star 14:35

C1 Prelude And Fugue In D, Bwv 532 9:33

C2 Trio Sonata No. 6 In G, Bwv 530 10:47

D1 Fantasy And Fugue In C Minor, Bwv 537 9:41

D2 Chorale: Alle Menschen Mussen Sterben, Bwv 643 3:44

D3 Toccata In F, Bwv 540 6:16

Grande Piece Symphonique (23:39)

E1 Andantino Serioso

E2 Andante

E3 Allegro Non Troppo E Maestoso

F1 Passacaglia And Fugue In C Minor, Bwv 582 14:05

F2 Le Nativite Du Seigneur: Dieu Parmi Nous 6:37

Recorded At – The Riverside Church, New York City

Recorded At – Philharmonic Hall, New York

SOUND TESTED / BUYER APPROVED

RECORDINGs PLAY VG+ > EX

BOX COVER IS VG > VG+ (one corner split, foxing)

INLAY EX+ > NM-

https://www.youtube.com/watch?v=MEZ5tu1RIJU

(EXAMPLE, NOT ACTUAL RECORD)

Virgil Keel Fox (May 3, 1912 in Princeton, Illinois – October 25, 1980 in Palm Beach, Florida) was an American organist, known especially for his years as organist at Riverside Church in New York City, from 1946 to 1965, and his flamboyant "Heavy Organ" concerts of the music of Bach in the 1970s, staged complete with light shows. His many recordings made on the RCA Victor and Capitol labels, mostly in the 1950s and 1960s, have been remastered and re-released on compact disc in recent years. They continue to be widely available in mainstream music stores.

Birth and studies

Virgil Fox was born on May 3, 1912, in Princeton, Illinois, to Miles and Birdie Fox, a farming family. Showing musical talent at an early age, he began playing the organ for church services as a ten-year old as well as at a local movie theater "APOLLO THEATER" owned by his father. Four years later, Fox made his concert debut before an audience of 2,500 at Withrow High School in Cincinnati, Ohio. The program included one of the mainstays of 19th-century organ music: Mendelssohn's Sonata No. 1 in F minor.

From 1926 to 1930, he studied in Chicago under German-born organist-composer Wilhelm Middelschulte. His other principal teachers were Hugh Price, Louis Robert, and (once he had moved to France) Louis Vierne and Marcel Dupré. He was an alumnus of the Peabody Institute of Music in Baltimore, where he became the first student to complete the course for the Artist's Diploma within a year, at age 18. By the age of nineteen, he had already performed for enthusiastic audiences at London's Kingsway Hall and New York City's Carnegie Hall.

Early career

Beginning in 1936, Fox was organist at Brown Memorial Presbyterian Church in Baltimore while teaching at Peabody. During August and September, 1938, he played in Great Britain and Germany; Fox was the first non-German organist given permission to perform publicly in the Thomaskirche in Leipzig—a special occasion, since Bach served as cantor of the Thomaskirche until his death in 1750. He also served as head of Peabody's Organ Department from 1938 until 1942.

Military service

During World War II, Fox enlisted in the United States Army Air Forces and took a leave of absence from Brown Memorial Presbyterian Church in Baltimore and the Peabody. He was promoted to staff sergeant and played various recitals and services at the request of Eleanor Roosevelt. He served on her Home Hospitality Committee and entertained returning troops who were in Walter Reed Hospital, by playing a piano he pushed around, and joining in with two others. They sang funny and rather raunchy songs to the bedridden. After having played more than 600 concerts while on duty, he was discharged from the Army Air Forces in 1946.

Riverside Church

Fox then served as organist at the prominent Riverside Church in New York City, from 1946 to 1965. The church's original Hook and Hastings organ installed in 1930 was rebuilt at his insistence by famed organ builder G. Donald Harrison, Master Builder of the Mormon Tabernacle organ plus others. Under his direction, the Riverside organ was expanded to become one of the largest in North America. His extemporaneous hymn accompaniments at Riverside's Sunday services and concert performances were widely acclaimed, and fans would wait after church services for hours to meet him.

While serving regulalry at Riverside Church, Fox also performed at several other concert venues. As a representative of the U. S. Department of State, he performed at the First International Conference of Sacred Music held in Bern, Switzerland in 1952. In 1962, he also appeared with his fellow organists E. Power Biggs and Catherine Crozier to inaugurate the newly installed organ at Philharmonic Hall in New York City's Lincoln Center. Over the years, he was even invited to perform at the White House as a pianist on three separate occasions.

Recordings made during this period brought his playing to larger audiences. They included Fox's unique interpretation of works by Bach, Handel, Fibich and Léon Jongen. In 1965, Fox left Riverside Church to devote himself to concertizing full-time.

Sine Qua Non

Profile: American variety label.

Sine Qua Non's initial business began as a supplier of 'recorded product' to bookstores in the United States, mainly spoken word recordings but expanding to musical releases and distribution to typical music retailers by the mid 1970s. By 1983 the company was operating out of Providence, Rhode Island.

Formed: 1971

Fall River, MA, United States 29424

Also known as: Sine Qua Non Productions Ltd. or SQN Productions

Parent Label: SQN Productions

Sublabels: Five Star, Five Star Super Analog, Masterpiece Series, Meet The Classics

Contact Info:

Sine Qua Non Productions

One Charles Street

Providence, RI 02904

USA

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FYI

In music, a single or record single is a type of release, typically a recording of fewer tracks than an LP or a CD. This can be released for sale to the public in a variety of different formats. In most cases, the single is a song that is released separately from an album, but it can still appear on an album. Often, these are the most popular songs from albums that are released separately for promotional uses such as commercial radio airplay, and in other cases a recording released as a single does not appear on an album. 45 rpm records are played on a record player or turntable. They can be played one at a time, with the records changed manually after they finish, or a stacking spindle could be used to play up to six in succession without manually changing them. The use of the spindle led to the coined "Stack O Wax" term in the 1950s.

History: The basic parameters of the music single were established in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercial music. Gramophone discs were manufactured with a range of playback speeds (from 16 rpm to 78 rpm) and in several sizes (including 12″/30 cm). By around 1910, however, the 10-inch (25 cm) 78 rpm shellac disc had become the most commonly used format.

The inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The relatively crude disc cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, and a high rotation speed was necessary to achieve acceptable recording and playback fidelity. 78 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm.

These factors, combined with the 10-inch songwriters and performers increasingly tailored their output to fit the new medium. The 3-minute single remained the standard into the 1960s when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recordings. In 1968 songwriter Jimmy Webb shattered the standard 3 minute format with "MacArthur Park" which exceeds 7 minutes length. Although Webb had written million-selling songs and was a multiple Grammy winner, the song had been rejected by several labels as simply too long for the marketplace to bear. The Beatles' also challenged deliberately the long-standing 3-minute standard for pop singles with their 1968 7 minute 20 second single "Hey Jude" which according to some was extended in length in order to exceed "MacArthur Park"

Singles have been issued in various formats, including 7-inch (18 cm), 10-inch (25 cm) and 12-inch (30 cm) vinyl discs (usually playing at 45 rpm); 10-inch (25-cm) shellac discs (playing at 78 rpm); cassette, 8 and 12 cm (3- and 5-inch) CD singles and 7-inch (18 cm) plastic flexi discs. Other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc (5″/12 cm, 8″/20 cm, etc.).

The most common form of the vinyl single is the 45 or 7 inch, the names are derived from its play speed, 45 rpm and the standard diameter 7″ (18 cm).

The 7″ 45 rpm record was introduced in 1949 by RCA as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs. The first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s.

Although 7″ remained the standard size for vinyl singles, 12″ singles were introduced for use by DJs in discos in the 1970s. The longer playing time of these singles allowed the inclusion of extended dance mixes of tracks. In addition, the larger surface area of the 12″ discs allowed for wider grooves (larger amplitude) and greater separation between grooves, the latter of which results in less cross-talk. Consequently, they 'wore' better, and were less susceptible to scratches. The 12″ single is still considered a standard format for dance music, though its popularity has declined in recent years.

The sales of singles are recorded in record charts in most countries in a Top 40 format. These charts are often published in magazines and numerous television shows and radio programs count down the list. In order to be eligible for inclusion in the charts the single must meet the requirements set by the charting company, usually governing the number of songs and the total playing time of the single.

In popular music, the commercial and artistic importance of the single (as compared to the EP or album) has varied over time, technological development, and according to the audience of particular artists and genres. Singles have generally been more important to artists who sell to the youngest purchasers of music (younger teenagers and pre-teens), who tend to have more limited financial resources. Perhaps the golden age of the single was on 45's in the 1950s and early 1960s in the early years of rock music. Starting in the mid-sixties, albums became a greater focus and more important as artists created albums of uniformly high quality and coherent themes, a trend which reached its apex in the development of the concept album. Over the first decade of the 21st century, the single generally received less and less attention in the United States as albums, which on Compact Disc had virtually identical production and distribution costs but could be sold at a higher price, became most retailers' primary method of selling music. Singles continued to be produced in the UK and Australia but have declined since the mid first decade of the 21st century.

Dance music, however, has followed a different commercial pattern, and the single, especially the 12-inch vinyl single, remains a major method by which dance music is distributed.

As of 2006 the single seems to be undergoing something of a revival. Commercial music download sites reportedly sell mostly single tracks rather than whole albums, and the increase in popularity seems to have rubbed off on physical formats. Portable audio players, which make it extremely easy to load and play songs from many different artists, are claimed to be a major factor behind this trend.

A related development has been the popularity of mobile phone ringtones based on pop singles (on some modern phones, the actual single can be used as a ringtone). In September 2007, Sony BMG announced they would introduce a new type of CD single, called "ringles", for the 2007 holiday season. The format included three songs by an artist, plus a ringtone accessible from the user's computer. Sony announced plans to release 50 ringles in October and November, while Universal Music Group expected to release somewhere between 10 and 20 titles.

In a reversal of this trend, a single has been released based on a ringtone itself. The Crazy Frog ringtone, which was a cult hit in Europe in 2004, was released as a mashup with Axel F in June 2005 amid a massive publicity campaign and subsequently hit #1 on the UK charts.​

 

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