PipeChat Digest #342 - Friday, April 24, 1998 Hymn Festival -- Who's Good? by "Dr. Darryl Miller" <OrganDok@safari.net> Retraction Reaction by "Steven Margison" <email@example.com> Re: Hymn Festival -- Who's Good? by "GrandOrg" <GrandOrg@aol.com> Re: Retraction by "B. Morgan Martin" <firstname.lastname@example.org> Concert Notice [X-posted] by "ComposerTX" <ComposerTX@aol.com> Your excellent advice about my organ by "KZimme7737" <KZimme7737@aol.com> Re: Retraction by "Jon C. Habermaas" <email@example.com> Re: Retraction by "bruce cornely" <firstname.lastname@example.org> Re: Your excellent advice about my organ by "Satbcantor" <Satbcantor@aol.com> So bold as to ask a Hammond Question :-p by "Shakehip" <Shakehip@aol.com> Recording of "SUNSHINE" by Swinnen. by <Fred@ecr.net> K Zimmer? [X-posted] by "ComposerTX" <ComposerTX@aol.com> LA Egyptian Theatre by "Bob Loesch" <email@example.com> Re: So bold as to ask a Hammond Question :-p by "bruce cornely" <firstname.lastname@example.org> Re: So bold as to ask a Hammond Question :-p by "Satbcantor" <Satbcantor@aol.com> Dickinson Concert Info by "Robert E. Wilhelm, Jr." <email@example.com> Re: K Zimmer? [X-posted] by "CHERCAPA" <CHERCAPA@aol.com> Re: So bold as to ask a Hammond Question :-p by "CHERCAPA" <CHERCAPA@aol.com> Re: So bold as to ask a Hammond Question :-p by "Vox Celeste" <firstname.lastname@example.org> Re: So bold as to ask a Hammond Question :-p by <email@example.com> Re: So bold as to ask a Hammond Question :-p by "Vox Celeste" <firstname.lastname@example.org> Re: So bold as to ask a Hammond Question :-p by <email@example.com>
(back) Subject: Hymn Festival -- Who's Good? From: "Dr. Darryl Miller" <OrganDok@safari.net> Date: Thu, 23 Apr 1998 08:46:31 -0400 Hi, Y'all! As many of you have written, these organ-related boards are a wonderful resource for alllll kinds of stuff. So . . . I'm coming to you for your help. Yes, I've written to the other list, as well. Who are your favorite hymn festival organists? I've been to events with Paul Manz and a few others, but I wonder who are your favorites or who has given you a thrill in a hymn festival setting. Thanks for your input. Yours, Darryl by the Sea Fort Lauderdale, FL
(back) Subject: Retraction Reaction From: Steven Margison <firstname.lastname@example.org> Date: Thu, 23 Apr 1998 08:49:57 -0500 Wow -- it is less than 12 hours since I posted my retraction and I have already received a FLOOD of (private) sympathetic email. Frankly, I am overwhelmed by the sentiments and finding it hard to reply to it all personally, so for those that may have written me but not had the honor of a personal reply, please understand the logistics and accept my heartfelt thank you for your kind words. My original posting which started all this was, in 20/20 hindsight, perhaps not the smartest thing I ever did. Even so, the message generated only two replies one of which was to correct a typo I made in the location of the Pickwick theatre. My retraction, which I felt would humiliate and discredit me tremendously, has created a much larger volume of mail, and not one piece of it has shown that I am in disgrace. I sit here typing my replies with wet cheeks and very grateful to the organ community for their support. Rest assured, I will find a way to continue my support of the theatre organ, even if it is nothing more than playing 30 minutes a week before movies at the Tivoli Theatre. |===================== Steve Margison =====================| |=== Staff Organist, Tivoli Theatre, Downers Grove, IL ===| |Organs, Theatres, Ham Radio, Lots of things at my WebSite:| |==== http://www.ameritech.net/users/mgcfngrs/home.htm ====|
(back) Subject: Re: Hymn Festival -- Who's Good? From: GrandOrg <GrandOrg@aol.com> Date: Thu, 23 Apr 1998 10:22:21 EDT Hi Darryl! You can add Dan Miller to that list! Haven't known of him to play a hymn festival, but I know it would be a thrilling event! David Nelms
(back) Subject: Re: Retraction From: "B. Morgan Martin" <email@example.com> Date: Thu, 23 Apr 1998 09:03:14 -0800 Good Lord! What a mess.
(back) Subject: Concert Notice [X-posted] From: ComposerTX <ComposerTX@aol.com> Date: Thu, 23 Apr 1998 12:28:42 EDT Robert MacDonald, from First Presbyterian Church in Fort Worth, Texas, will present a concert of rededication of the rebuilt Kilgen at: Trinity Presbyterian Church [in Oak Cliff] 901 North Zang Boulevard [at Sixth Street] Dallas, Texas 75208  943-2261 Sunday, June 7, 1998 at 2:00 p.m. The Kilgen moved from a Presbyterian church in Missouri, to a Presbyterian college in Missouri, then was "redone" for its installation at Trinity Pres by Jim Sandling in the mid seventies. After severe water damage occured to the Swell chest in the spring of 1997, Dan Garland of Fort Worth replaced the swell chests, rebuilt the console[beautifully], and installed a Peterson relay/combo system. He still maintains the instrument. The Church is wheel-chair accessible; seating is limited, but all are welcome! From downtown Dallas, take Interstate 35E south to the first exit south of the Trinity River basin, Colorado Boulevard, take a right [west] about 6 blocks to Zang Boulevard, take a left [south] about 6 blocks to the intersection of Zang and Sixth. Dan Garland will be working hard to complete as much of the redesigned spec as possible, but the organ will be close to this spec. If you have any questions, please e-mail me, and I'll respond. If I get a information about the content of the program, I will post it soon. Thank you, Danny Ray ComposerTX@AOL.com Proposed Specification for the organ at Trinity Presbyterian Church, Dallas Texas [revised April 15, 1998] Great 16 Viole T. C. 8 Principal 8 Bourdon 8 Gemshorn 4 Octave 4 Harmonic Flute 2 2/3 Twelfth 2 Super Octave 2 Hohlflute 2 Mixture III-IV Swell 16 Spitzflute 8 Geigen T. C. 8 Gedackt 8 Salicional 8 Voix Celeste T. C. 8 Spitzflute 4 Geigen 4 Spitzflute 2 2/3 Nazard 2 Blockflute 1 3/5 Tierce 1 Plein Jeu III 16 Fagotto 8 Fagotto Tremolo Choir 8 Viole tr/Great 8 Voix Celeste II tr/Swell 8 Spitzflute tr/Swell 8 Cornet V tr/Swell 8 Fagotto tr/Swell Chimes Pedal 32 Resultant 16 Bourdon 16 Spitzflute tr/Swell 8 Octave 8 Bourdon 8 Viole tr/Great 8 Spitzflute tr/Swell 4 Octave 16 Fagotto tr/Swell 8 Fagotto tr/Swell 4 Fagotto tr/Swell
(back) Subject: Your excellent advice about my organ From: KZimme7737 <KZimme7737@aol.com> Date: Thu, 23 Apr 1998 12:50:55 EDT I am posting this to the list in case anyone has any more advice. Thanks Paul, I received your lenghthy advice. Thank you for taking the time to type all that. No one has been quite so thorough. I would greatly appreciate it of you could suggest a spec for me. Here are a few thoughts I have considered: 1. My new house (10 years old and well built) has a slightly vaulted great room about 20' x 24', in which will be my 5'8" piano, living room furniture, and the organ console. Had I designed my own house, I would have wanted a high vaulted ceiling with a loft in which would be the pipes. 2. Because of the ceiling height, I figured that I would have to give up on the idea of exposed pipes and hide them in the attic, which is quite large, or basement. 3. There is a decent sized foyer just off the great room with an 11' ceiling. If volume of the organ is to be an issue (especially if the organ had been in a church) I thought of putting the pipes in the attic in close proximity to the great room and foyer. Grillework would be placed in the foyer ceiling through which the organ would speak. This might allow the organ to be well heard from the great room and dining room, but prevent it from being overbearing. 4. Regarding the pipe analysis: My original intent was to have exposed Great. If pipes are hidden from view, this is not an issue. My concern about enclosing the entire organ in one swell is that I want to make sure that I don't have a problem balancing a solo voice with its accompaniment voice. I understand that that is taken into consideration when one chooses which ranks of pipes to have. 5. I wanted a diapason/principal chorus on the Great. I have played a couple of organs in which the chorus was taken from only one unified rank. I never could hear what note my right pinky played, since the pipe would already be sounding. I sought to lessen this by unifying the 4' & 2' only. I didn't mention in my specs, but I figured I could wire for 2-2/3' or other mutations later. 6. I wanted a bright chiffy flute chorus for the Swell to contrast with the Great principals. Again, I used the same thinking regarding unification and mutations as I did for the Great principals. The exact name for these flutes I did not know. So far I have four ranks - 2 principals on great and 2 flutes on swell. I have considered (since this organ is for the home) going ahead and unifying these within their divisions, i.e. 1 rank or Principals to play at 8,4, & 2 on Great and 1 rank of Chiffy Flute to play at 8,4, & 2 on swell. The problems of unification might not be as noticeable on a home organ. I did notice this problem mainly in hymn arrangements which contain many chords as opposed to baroque styled pieces. 7. I wanted a soft flute on the great and pedal that would provide a soft accompaniment to a swell solo stop. I thought the Gedeckt was a soft flute, and, since it would have been unenclosed on my first spec, it would work well for great and pedal. With the organ enclosed, I wondered if a Bourdon played at 16' & 8' on pedal and 8', 4'. and possibly 2' on great would give a contrasting heavier flute on the great to contrast with that on the swell, while providing a foundation for the pedal and a soft accompaniment on the great. 8. You mentioned a Flauto dolce/Flute Celeste. I like this. Could this be the soft flute for the great at 8' and 4' instead of the bourdon? A soft flute rank tuned celeste to T.C. on the great would add a lot I think. 9. What about a solo stop for the swell? All said, I want a small organ with two contrasting manual divisions. I would like to be able to get some loud chorus sound from it when needed, but I would also like to have a pretty setting for solo w/ accompaniment. If you have a spec you would recommend, please let me know. Thank you again for your advice. Keith Z.
(back) Subject: Re: Retraction From: "Jon C. Habermaas" <firstname.lastname@example.org> Date: Thu, 23 Apr 1998 12:44:31 -0500 B. Morgan Martin wrote: > > Good Lord! What a mess. > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:email@example.com > Administration: mailto:firstname.lastname@example.org > Subscribe/Unsubscribe: mailto:email@example.com On the basis of reading Steve's postings I can understand why you would believe that. It just isn't so.... I can sympathise with Steve's problems and would have replied to him privately had he not chosen to air alot of dirty laundry on these lists. I have replied privately to Steve and told him, "I have always felt that you've been used to carry out someone else's egenda and got unfairly caught in the fray." To Steve, Whether you are doing this intentional or not...you are still carrying out that agenda. To my knowledge you've have never been to a CATOE function, have no direct knowledge of our activities and really understand very little of our organization. Now you have chosen to tar both your own organization and ours with same brush. Please step back and really take a good look at what both groups are doing. I am on the CATOE board and have no knowledge of any sinister plots and recently a member of the CTOS board responded to these lists to distance there organization from Steve's allegations. Just like any group that is a volunteer organization there will be problems when personalities clash and politics becomes the primary problem. Both groups are trying to function without letting the petty politics rule, and focus our concern of the goal of promoting and preserving the theatre pipe organ. I cannot say any more. If you wish to focus on Steve's inflammatory statements as being the way things are..there is very little to say other than...it isn't so.. sincerely, Jon C. Habermaas
(back) Subject: Re: Retraction From: firstname.lastname@example.org (bruce cornely) Date: Thu, 23 Apr 1998 16:10:04 -0400 >Good Lord! What a mess. Yes indeedy! Do watch where you step!! ;-) bruce cornely o o o __________ o o o ago (dean) ohs o o __________ o o email@example.com
(back) Subject: Re: Your excellent advice about my organ From: Satbcantor <Satbcantor@aol.com> Date: Thu, 23 Apr 1998 17:30:07 EDT Keith, I have been reading with interest your plans for a home organ, and wonder whether you are heading too far down the road of fitting a quart into a pint pot? What follows here are thoughts rather than advice: * To fit an organ into a house........more or less demands the fitting of a house organ :-) * If there are to be Great and Swell divisions, then whilst there is some freedom over the location of the Swell, the Great organ almost by definition needs to speak directly into the largest space, where also is to be found the console. * A typical 61 note sound board for an 8 rank Great organ, is about 8ft long and 3.5 ft wide. The maximum height required would be about 9.5 ft.. reducing to less than six feet after the bottom octave of twelve pipes. * Take a stock size 8x4 sheet of plywood. If there is anywhere in the house you (a)can lay it flat, (b) can stand it upright and then raise it 2ft., then you can fit in the sound board mentioned above. Is there space where you did that, also to fit in the console? * The above sound board could contain :- Open Diapason 8 , Gedeckt 8, Dolce 8, Principal 4 , Harmonic Flute 4, Twelfth 2 2/3 , Fifteenth 2 , Trumpet 8. * The above spec. if you are in the same room, will blow your bloody head off , and your eyes and ears will change sides !!!!!! * Others will say differently, but I honestly do not believe it is acoustically realistic to distribute pipe work through more than one room, or one definably separate space. The tuning process would be a nightmare, with 'false' beats being created by every solid surface the sound must travel around. God loves a trier, Regards......... Chris Durham.
(back) Subject: So bold as to ask a Hammond Question :-p From: Shakehip <Shakehip@aol.com> Date: Thu, 23 Apr 1998 17:36:39 EDT Just curious what the going rate to add sustain bass or string bass to an old C-3 is ? What's the difference ? Also, anybody ever use an 825?... My "vibrato" doesn't seem to steam and tickle my bottom so much... wondering if the organ needs some maintenance, or I just need to finally get that Leslie 122 hooked up ?
(back) Subject: Recording of "SUNSHINE" by Swinnen. From: Fred@ecr.net Date: 23 Apr 1998 19:18:32 EDT Greetings Lists Members - Does any one know of any recording of "SUNSHINE" toccata; by Firmin Swinnen ? ( Yep, that's his name . ) Theo. Presser # 23556; copyrighted in 1927. =============================================================== Fred Lewis Organist/Assist. Choral & Handbell Director Saint John's Lutheran Church New Washington, Ohio 44854 Home Address: 61 Zent Avenue Fredericktown, Ohio 43019-1031 Home Phone & Fax ( it switches ) 1-740-694-0046 E-mail:firstname.lastname@example.org ===============================================================
(back) Subject: K Zimmer? [X-posted] From: ComposerTX <ComposerTX@aol.com> Date: Thu, 23 Apr 1998 19:26:04 EDT Can anyone help me contact K Zimmer [?] who was requesting input about an 8 stop organ for his home? Thanks Danny Ray ComposerTX@AOL.com
(back) Subject: LA Egyptian Theatre From: Bob Loesch <email@example.com> Date: Thu, 23 Apr 1998 16:51:56 -0700 Hello, Listmembers. Yesterday's paper had an article that stated that the 'historic Hollywood Egyptian Theatre' was undergoing renovation, and that the restoration will include 'a 1922 Wurlitzer organ for silent film presentations'. Any members know about that, or have I been living in 'virtual Siberia'? Regards, Bob
(back) Subject: Re: So bold as to ask a Hammond Question :-p From: firstname.lastname@example.org (bruce cornely) Date: Thu, 23 Apr 1998 20:41:33 -0400 Shakehip, Interesting questions you pose. Being a tracker person, I have no eartly clue as to your solution, but did derive significant enjoyment from thinking of all the non-Hammonized people on the list cocking their heads to one side (in unison of course) and thinking: whhhhhaaaaaaaaaaaaaaaaa???????? I anxiously await an intelligent answer for you, although it will not emanate from herein!!! ;-) Glad you "piped up" or "oscillated up" or..... bruce cornely o o o __________ o o o ago (dean) ohs o o __________ o o email@example.com
(back) Subject: Re: So bold as to ask a Hammond Question :-p From: Satbcantor <Satbcantor@aol.com> Date: Thu, 23 Apr 1998 21:16:53 EDT I heard a Hammond once.....................where do they put the pipes? I could hear them apparently swaying about, but couldn't spot 'em.
(back) Subject: Dickinson Concert Info From: "Robert E. Wilhelm, Jr." <firstname.lastname@example.org> Date: Thu, 23 Apr 1998 21:05:12 -0400 While the Dickinson Theatre Organ Society still has two concerts remaining= in the present concert season (Lew Williams -- April 25, 1998; 8:00 PM and Tom Hazleton -- June 6, 1998; 8:00 PM) we're thinking about next season already.= =20 1999 marks the 30th year that theatre organ concerts have been presented on the Dickinson Kimball. The following artists will be appearing during our 1998-1999 Concert Season. Ticket orders will only be accepted after June= 15th for the concerts listed below. The following information is from our= concert brochure which will be printed shortly. Dennis James September 12, 1998; 8:00 PM The 1998-1999 DTOS Concert Season marks our 30th year of featuring internationally acclaimed artists on the world renowned 3/66 Dickinson Kimball. To open this exciting concert season we welcome the return of a locally trained artist from the Delaware Valley. Dennis James' ability to coax the lushest= of sounds from any theatre organ, along with his innovative orchestrations,= have gained him an international reputation. Recognized as a top accompanist for silent films, Dennis' program will include a short film. It will be movie entertainment par excellence. It=92s an opportunity to hear a local artist; certainly a concert not to be missed! Carlo Curley October 24, 1998; 8:00 PM Equally at home at both classic and orchestral organs, Carlo's personal interpretations of classical music prove popular with diverse audiences worldwide. His unique aptitude for improvisation, broad understanding of theatre and classical organ, as well as his impeccable musical skill and delightful humor, guarantee a unique evening of entertainment. Dubbed "the Pavarotti of the Organ" and said to have "inherited the mantle of the late Virgil Fox," Carlo's concert presentation of classical and orchestral transcriptions will demonstrate yet another unique capability of the= Dickinson Kimball! Jelani Eddington December 5, 1998; 8:00 PM Our latest recording artist returns by popular demand! A master at= orchestral registration, Jelani creates a kaleidoscope of sound with the vast resources of the Dickinson Kimball. His technique is dead accurate, no mistakes, no goofy harmonies; everything a result of incredible talent and schooling of the highest order. Still in his early twenties, Jelani has racked up an= impressive list of theatre organ accomplishments including being the youngest overall winner of an ATOS Young Organist Competition. Now studying international law at Yale, Jelani's unique stylings and assertive technique will insure a superb evening of theatre organ. Dick Smith January 30, 1999; 8:00 PM No other artist has performed in concert on the Dickinson Kimball more than Dick Smith! Renowned for his playing of ballads, dance band music, and= hymns, Dick has become known at DTOS for returning to the console after the formal concert for a "third half"=97 several additional hours of organ music, all selected by audience request. It is a late-night evening packed of= excitement, fun, and most of all good theatre organ. Come see and hear why Dick Smith remains a DTOS audience favorite. Donna Parker March 13, 1999; 8:00 PM An international organist with a diverse musical background, Donna elegantly delivers each musical selection with great clarity and finesse. Her= classical background is a foundation for the role of theatre organist and she is= equally at home playing either form of instrument. Donna's sense of color and depth= of registration are rarely surpassed; her carefully crafted, elegantly= delivered musical stylings guarantee an enjoyable evening of theatre organ music. The vast resources of the Dickinson Kimball, coupled with Donna's faultless technique and stylings are not to be missed. Simon Gledhill April 24, 1999; 8:00 PM Often introduced to audiences as "the most sought-after theatre organist currently playing," Simon's decisive technique, extraordinary talent, and= fine sense of humor, will make for a memorable evening. Simon's Dickinson Kimball CD titled "Kavalkade" has won international praise. Born and residing in the United Kingdom, Simon gained international appeal from his performances in= the United States, Australia, Holland, and Germany. His concert performances represent a blend of music and cultures from all parts of the globe. Widely known for lightning fast changes in registration, a concert by Simon= Gledhill will guarantee a special evening of theatre organ music performed on the internationally acclaimed Dickinson Kimball. Ken Double June 5, 1999; 8:00 PM We close the concert season with the relaxed, easy-listening stylings of a true master of theatre organ technique and registration. A jovial master of ceremonies that spins off jokes that rival the best comedians, Ken=92s= expertise with theatre organ double-touch brings compositions interleaved with counter-melodies and percussive accents. His lush, romantic ballads are a blend of imagination, handpicked registration, and inspiration. It=92s a concert= event of poplar music with a theatre organist par excellence. An exciting end to another great season of theatre organ music. Our '98-'99 Concert Season Our theatre organ concert season offers artists with a broad spectrum of musical talent and diversity. Individual concert tickets are; $9.00 paid in advance $10.00 on concert day $45.50 for Season Tickets (expires 9/12/98) Call the DTOS Ticket Office at 302/995-5630 for group pricing for 11 or= more.
(back) Subject: Re: K Zimmer? [X-posted] From: CHERCAPA <CHERCAPA@aol.com> Date: Thu, 23 Apr 1998 21:44:30 EDT Dear Danny, Yup . got it right here; KZimme7737@AOL.COM Your Welcome Paul P. Valtos
(back) Subject: Re: So bold as to ask a Hammond Question :-p From: CHERCAPA <CHERCAPA@aol.com> Date: Thu, 23 Apr 1998 21:50:49 EDT Dear Shakehip, You can get someone from a band music store (the one's that sell guitars, amps., reverbs) to fix you up on the sustain, string bass. As for the Vibrato, I would have tossed the old PR-40 years ago for the 122 Leslie. You won't believe the difference. If you know of an Allen dealer who has a gyro for sale (not the sandwich) , that can also be hooked up to the Hammond and also has two speeds if it is a church model speaker. It has an adjustable resistor in the cabinet where you can chose the speed of the gyro. Sincerely, Paul P. Valtos
(back) Subject: Re: So bold as to ask a Hammond Question :-p From: "Vox Celeste" <email@example.com> Date: Thu, 23 Apr 1998 22:35:59 -0700 On Thu, 23 Apr 1998, Satbcantor <Satbcantor@aol.com> wrote: >I heard a Hammond once.....................where do they put the pipes? I >could hear them apparently swaying about, but couldn't spot 'em. That is a really, really easy one to answer: Everyone knows that the insides of a Hammond are filled with little cam thingies and these are really miniature radio transmitters. The cams generate radio signals in the organ and send them into the air and Viola! instantaneously the sounds of the 'pipes' arrived back in the speaker cabinets straight from the the Hammond factory. That way they don't have to put all those millions of sounds into every single organ but instead they have them all available at the factory. Saves tons of space in a home installation and it makes them cost a lot less too. Vox Celeste 00 4332 11 Free web-based email, Forever, From anywhere! http://www.mailexcite.com
(back) Subject: Re: So bold as to ask a Hammond Question :-p From: firstname.lastname@example.org Date: Fri, 24 Apr 1998 02:53:22 +0000 Vox Celeste wrote: > 00 4332 11 There's no need to swear at us. Really!! Ken Sybesma
(back) Subject: Re: So bold as to ask a Hammond Question :-p From: "Vox Celeste" <email@example.com> Date: Fri, 24 Apr 1998 00:54:59 -0700 On Fri, 24 Apr 1998, firstname.lastname@example.org wrote: >>Vox Celeste wrote: >> 00 4332 11 >There's no need to swear at us. Really!! >Ken Sybesma Aw shucks, Ken! Iff'n I'd wanted to do that, I would have done that. Comme ça: 00 7734 00. But that would have been too much fundamental and some folks say I've got way too much fundament already. Now what do you suppose they mean by that? Vox Celeste Free web-based email, Forever, From anywhere! http://www.mailexcite.com
(back) Subject: Re: So bold as to ask a Hammond Question :-p From: email@example.com Date: Fri, 24 Apr 1998 04:22:54 +0000 Vox Celeste wrote: > 00 7734 00 Well!!! 53 8756 52 to you too! Ken Sybesma