PipeChat Digest #332 - Wednesday, April 15, 1998
Re: What I think of "Organists and Chambers"
  by "Prestant16" <Prestant16@aol.com>
Re: Double Organ Sound for < $500 & a Question
  by "RMaryman" <RMaryman@aol.com>
Re: Double Organ Sound for < $500 & a Question
  by <danbel@earthlink.net>
Re: Amatures in organ chambers
  by "bruce cornely" <cremona84000@webtv.net>
Re: What I think of "Organists and Chambers"
  by "Satbcantor" <Satbcantor@aol.com>
Re: Double Organ Sound for < $500 & a Question
  by "Bob Loesch" <rrloesch@jps.net>
Recital, Sunday, NYC
  by <JEKroep@hrn.bradley.edu>
Vox Limbaugh
  by "Kurt Kehler" <kmkehler@compuserve.com>
Playing Posture
  by "Chong Ten Yeen" <art60378@leonis.nus.edu.sg>
Re: Vox Limbaugh
  by "Mark W. McClellan" <omicron@netins.net>
  by "Ian McLean" <solo_tibia@yahoo.com>

(back) Subject: Re: What I think of "Organists and Chambers" From: Prestant16 <Prestant16@aol.com> Date: Tue, 14 Apr 1998 18:35:23 EDT   In a message dated 98-04-14 18:02:45 EDT, you write:   << Organ Supply Industries in Erie PA, or the Tracker Tool Company (can't remember the address and, geez I'm sounding like a broken record) >>   Tracher Tool Supply 799 West Water St. Taunton, MA 02780   508-823-0236   Robert Roche is the owner. He has an excellent variety of tools for tuning, and usually costs less that any other supply company. He carries tools by Laukhuff, Weldon, and some by Tracker Tool. I find that the prices, especially on larger Laukhuff blowers are almost always at least 5% less than OSI and that adds up on blowers costing $ 3,000.00 to $ 6,000.00. But because Tracker Tool is a small company things are not always on hand, some thing need to be ordered when the order comes in, so parts and tools may take a week or two longer to get to you. Tracker tool also has many specialized, and hard to find tools, such as the Antique Brick Red paint used in historic restorations, special glues water based and epoxy, and also their very own pipe cleaning chemicals.   A product I just tried was the dry graphite spray. It works great, I don't need to rub it on a new chest, I just sprayed it, of course everything was taped up so I wouldn't get it everywhere. I got a nice even coat with no wax buildup or mixing with acetone or laquer thinner.   -William    
(back) Subject: Re: Double Organ Sound for < $500 & a Question From: RMaryman <RMaryman@aol.com> Date: Tue, 14 Apr 1998 18:49:15 EDT   In a message dated 98-04-14 17:40:20 EDT, you write:   << How do people react when they come to your house and see your organ for the first time??? Any funny anecdotes? >> Back in the days when I was single, and living in the suburban DC area, I had a 4 manual Moller console in the living room.   Geez, I lost several potential girlfriends over that!!   Rick M. Staunton VA  
(back) Subject: Re: Double Organ Sound for < $500 & a Question From: danbel@earthlink.net Date: Tue, 14 Apr 1998 19:01:06 -0400     ><< > How do people react when they come to your house and see your organ for the > first time??? >   I think the best reaction was, "My god, you would have to be a 747 pilot to operate that thing wouldn't you? " :)   It was only a Hammond Condorde. :)   djb    
(back) Subject: Re: Amatures in organ chambers From: cremona84000@webtv.net (bruce cornely) Date: Tue, 14 Apr 1998 19:39:08 -0400   Anyone!! Do the blowers supplied for 1982 vintage Mollers (Zephyr??) need oiling, or are they "sealed". I don't see anywhere to oil, and of course there are no instructions on the blower. Thanks/   bruce cornely o o o __________ o o o ago (dean) ohs o o __________ o o cremona84000@webtv.net  
(back) Subject: Re: What I think of "Organists and Chambers" From: Satbcantor <Satbcantor@aol.com> Date: Tue, 14 Apr 1998 20:08:34 EDT   From a newbie lurking in England........... If you are thinking of having a go at tuning for the first time, whatever you do, don't 'lose your bearings'. Put another way, on pain of musical death, don't even look at the Great Principal 4 (or Octave 4). The whole instrument is tuned to this stop. If the principal is 'off' and you are new to the game, then you will have to leave it to a professional to re-lay the bearings. Most players develope an interest in tuning from having to knock-in the reeds on a fairly regular basis, even for individual services. It is better to tune to a slightly 'off' Octave than to get lost in the scales before experience and ear have developed. Even people who understand the sequence of fourths and fifths tend to begin by tuning too 'perfect' and (if you'll forgive me saying it again) 'losing their bearings'.   Tools:- A better man than me has already posted his tool list: what he didn't tell you, was that for ninety percent of his time on the walk-ways, he uses just the one 'reed-knife' that he has had all his working life. The rest of the tools he carries,which would fill the average garage, are for the remaining ten percent! Tuning cones (brasses) :- Many budding tuners see these and quite reasonably think that they could be turned in hardwood. You can...... and they do work, but tend to cause unnecessary damage. they are too light and you have to actually strike the pipe top. With a good solid 'brass' you develope a technique of allowing the tool to work with its own weight, which is much easier to control.   Thanks for a really interesting place to be, hope I haven't bored you, Regards, Cembalist.  
(back) Subject: Re: Double Organ Sound for < $500 & a Question From: Bob Loesch <rrloesch@jps.net> Date: Tue, 14 Apr 1998 16:57:35 -0700   At 17:36 4/14/98 EDT, you wrote: >ALSO, I have a question: > >How do people react when they come to your house and see your organ for the >first time??? > >Any funny anecdotes?   John and Listmembers,   The only reaction I've had was during a visit with an engineer from work, who brought along her 14 year old nephew. Upon looking at the player pianos, reed organ, Wurlitzer console, and old clocks, the boy asked me, "And are you the curator?..."       Regards,   Bob        
(back) Subject: Recital, Sunday, NYC From: JEKroep@hrn.bradley.edu Date: 14 Apr 1998 17:56:50 CST/CDT   PI>Hello--   PI>If anyone is going to be in the NYC area next Sunday, April 19, at 5:15, PI>(besides the usual ten million people) I'll be playing a recital at Saint PI>Thomas Church, Fifth Avenue.   PI>Program is as follows:     PI>Mendelssohn, Sonata number 5   PI>Durufle, "Soissons" fugue, opus 12   PI>Alain, Three Dances   Sounds like a wonderful recital. I hope several turn out.     Jonathan Kroepel Peoria, IL      
(back) Subject: Vox Limbaugh From: "Kurt Kehler" <kmkehler@compuserve.com> Date: Tue, 14 Apr 1998 22:10:18 -0500   Most previous accounts of the Limbaugh stop are based on hearing imperfect, equal-tempered imposters. I have the genuine article.   The Limbaugh stop is that most rare of those rarities which sounds forth the light of truth everywhere it is heard. Yea, it is even a truth detector. Beginning behind the golden EIB microphone, surrounded by swirls of sweet cigar smoke (unlike that nasty incense I endured last week), the Limbaugh stop provides a hearty reprieve to all those poorly maintained and/or designed ranks of pipes up with which we put.   Kurt Kehler (Who wrote this with talent on loan from God and almost formerly nicotine-stained fingers.)                        
(back) Subject: Playing Posture From: Chong Ten Yeen <art60378@leonis.nus.edu.sg> Date: Wed, 15 Apr 1998 10:17:18 +0800 (SST)   On Tue, 14 Apr 1998, humcorganist@geocities.com wrote:   > o |~~~| <snippage> > /\_ _| | > \__`[_ | > ][ \,/|___|       You know, one shouldn't play sitting hunchbacked. Sit tall! How 'bout, say, something like this:   o |~~~| |\_ _| | /__`[_ | ][ \,/|___|   Could help relieve some unnecessary backpain/ backache problems! :)   best regards to all, Ten Yeen     --* I'd rather be a failure at something I love *-- than be a success at something I hate. -George Burns-      
(back) Subject: Re: Vox Limbaugh From: "Mark W. McClellan" <omicron@netins.net> Date: Tue, 14 Apr 1998 21:44:45 -0500   Amen! God Love You and Dittos! /s/ Mark W. McClellan    
(back) Subject: VERY TINY SNAPSHOT - TOSA CONVENTION 1998 From: Ian McLean <solo_tibia@yahoo.com> Date: Tue, 14 Apr 1998 21:18:22 -0700 (PDT)   I hope that this narrowly focussed piece will encourage others to write in with some further details of this event held this year in Adelaide.   For the first time, I decided to attend just those concerts that I wished to attend either on a musical basis, or a "sleep-in" basis. Too often, for me, the combination of the never ending assault of the mediocre, in instrument and/or organist, plus lack of sleep means that the shine is taken off the very good and the virtuosic. I decided that this was not to be this time.   Given the constraints of my airline bookings, I chose the opening night's concert with organist, Chris McPhee, soprano, Rosemary Boyle and pianist, Malcolm Ross. However, Qantas, which was once Australia's pride and joy before it was effectively taken over by the impersonal British Airways (who cares about being a part of the biggest if this is the outcome?), got me into Adelaide late so that I was only able to attend the second half of this concert. What can I say?     CHRIS MCPHEE, ROSEMARY BOYLE, MALCOLM ROSS All three artists delivered to expectations. But, it was better than last time. This year Malcolm Ross was contained to keyboard performance on the piano. No organ. Thankfully!   Chris McPhee's playing has matured in technical competency, but seems to have regressed somewhat when it comes to a matter of style and passion.   It was really left to Rosemary Boyle to carry the show. She worked very hard, even to overcome an asleep, and unsympathetic sound engineer who left her microphone switched off for her entire post intermission opening number! Still, this is another story.   The aging audience enjoyed this performance. However, for me it was like sitting in a lift to the highest building ever built. Simply Muzak! However, the 3D movie was an EXPERIENCE! It worked!     ANTHONY HUNT The next event for me was to highlight the pent ultimate performance. But, this was not to be on organ but on piano, by one teenager, Anthony Hunt. This quite unbelievable musician, at around 17 years of age, delivered three exquisite classical numbers with such authority, insight and finesse, that I was stunned. He stunned, I might add, the entire audience. Once again proving that those who choose to play down and patronise these "oldies" choose wrongly.   Anthony was able to also extract from the usually quite ordinary Kawai KG-5C, wonderful tonality and to be able apply a deftness of touch and technical mastery that was simply entrancing.       JOHN GIACCHI The "star" of this concert, was supposed to be John Giacchi. John, was, for me, the real star of the last TOSA Convention held in Sydney a couple of years ago. However, that presentation was in a very tight time frame, and not a full concert. Just the same, I was surprised by his performance on the almost all original 2/12 WurliTzer ensconced in Wyatt Hall. Whereas all efforts two years ago by John, nearly always made what he attempted be at the service of the music, in this event, it was the other way around. What do I mean?   Well, the multiplicity of registration changes, caused John to create gaps in the music to allow for these changes to occur. This not only detracted from the music, but was such a problem for most of this performance, that it really brought back memories of John's performances as a teenager when he seemed more intent on attempting the impossible than with musical continuity outcomes. The only numbers where John managed to overcome this was in the same numbers that he played two years ago. Although even the overly lengthy Harry Warren medley suffered similar problems.   Then, there is was the issue of John's programming itself. I LOVE new material being brought to the TPO concert stage, but it needs to provide CONTRAST, and INTEREST and be amongst other, more well known material. I had sitting alongside me two quite different people. One a musician (no, not an organist), who is also a Lecturer in music, and another who likes the more simple in TPO performance. However, on John's performance, they were both in agreement - "BORING".   What a contrast after his performance at Chatswood two years ago, when he electrified every person there just like his associate artist did on this day. John loves the Wyatt Hall instrument, and it is immeasurably better than the Chatswood organ. Could it be that his career in law is becoming the focus, and the bearer of greater satisfaction? Still, I did hear him last year in Perth on the Karrinyup 3/19, and although I have to admit to some misgivings about the programming, there was no foreboding of this almost wholly unsuccessful concert. Is it time for John to rethink where he wishes to take his music?     LEW WILLIAMS The next event for me, was to be the convention import, and therefore for some historic reason the convention's BIG STAR, Lew Williams. Australians, no matter how highly they are perceived elsewhere in the world, rarely achieve top billing. I wasn't sure what to expect. Why? Well, when I expressed a wish to come to Adelaide just to hear Lew, my overseas email correspondents, warned me that he could be indifferent. They were correct. But!   The general consensus from all those that I spoke to was that this concert was the MOST ENTERTAINING of the convention. Lew covered a multitude of styles and registration contrasts. I enjoyed his ballads immensely (except the Titanic theme), and his superb recreation of the last iteration by George Wright of the Cole Porter "Love For Sale". "Last" because this number has been a work-in-progress of GW's for his entire career.   I was scared silly, when Lew brought the console up, as he seemed so nervous that he fluffed in monumental ways the first couple of numbers. So, why should I be "scared"? Well, these days, rather than just writing about TPO and attempting to cause focus on those aspects of it which are of excellence, I try to bring people, or get friends and contacts to go to concerts which I expect will deliver to non TPO people. I considered, that based on LP's of Lew's that I've had for many years, that he would deliver. So, on this night, in addition, to my jazz friend I invited two peope who had NEVER heard a TPO concert before in their lives! One a musician, and the other the PR manager for a major hotel in Adelaide.   Still, once Mr Williams had played "At Last", he settled down, and then proceeded to perform sometimes to virtuosic perfection, sometimes with indifference, and sometimes unacceptably (for an artist of his stature). His well known big band orchestral numbers fitted these descriptions as well. Did he sometimes think that he was back in the pizza parlour?   However, by intermission, he had won my friends and I over. Naturally, the complete Rhapsody in Blue assisted! Especially as Lew's interpretation leaned more to the Whiteman version, than the adulterated and mostly passion less symphonic attempts that litter record bins around the world, well, with the exception of the Leonard Bernstein performance.   The second half seemed to commence without the same impact as the first, for me, but not for others. What impressed me greatly was that for the first time in many years I heard an organist, who could get imitative orchestral registrations from a TPO, where I could not discern the ranks chosen. Mr William's ability to not only choose the right ranks but the correct pitches to play these registrations at, was uncanny in their orchestral 'rightness'. I also appreciated his ability to drive (can't think of a better word) the impact of his interpretation or performance through. The Widor 5th was a case in point. Only when he fluffed things did he distract from the music. His ability to make registration changes be at the service of the music, rather than the other way around was in stark contrast to that which John Giacchi affected his interpretations. I noticed that John was attentive.   So, with a programme that ran the gamut from some "Chicken" (?) song (also played by Ron Rhode when I was in the U.S.), to Widor's 5th (which I liked and a classically trained organist, didn't), eight minutes of the 1812, and some glorious ballads (the Eddie Dunstedter signature being one), this organist did ENTERTAIN. So, what's my problem? Well, the apparent indifference, and inaccuracies, mixed in with such care, and virtuosity. Very unusual in my experience. Huh?   Well, it would seem that most organists when they become indifferent, or lose their technique, well, they lose it across the board. Not with Lew Williams. Also, I do have some concern about just what he could present if he were to come back down under, say next year, especially given that his programme consisted of material that he has used for maybe as long as 20 years! So, he sort of left this attendee a bit confused. Just the same I was glad that I spent the time to go along and listen. And, my friends, well they managed to go off their enthusiasm in the second half. They managed to overcome the newness of the sound and experience, and were able to be fully exposed to the performances themselves. Would they attend another TPO concert? NO! All too sad.   If TPO is to grow, then its programming, marketing, and consistency of performance must do better than this in public events. This also applies to the compering of such events. It is of little interest to the non TPO attending audience to be subjected to cloying comperes. I was very surprised in this case, with the ex-Australian Broadcasting Corporation staff member, who rambled unnecessarily and seemed to consider himself as much as "star" as the performing musicians themselves. "What's my name?" He asked! "Who cares?" We thought. Malcolm Patterson the compere, was always one of those that I have always had the highest regard for up until this convention.   I will leave it to others to comment on the broader organisational issues to do with this convention. But, from my observations, it seemed extremely professional, as is usual for the Adelaide events. Indeed, it was so smooth, that there was nothing to complain about whatsoever! Well done!   There are four performances that stick in my mind as standouts. The three Anthomy Hunt piano items, and the extraordinarily sensitive number that Lew dedicated to Easter, which I wish I could remember the name of. This performance even impressed Lew himself when, almost as an aside he turned to look at the Capri 4/29 modern theatre pipe organ, and said quietly, "pretty......very pretty".     Ian McLean                         _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com