PipeChat Digest #497 - Monday, August 24, 1998
Re: Bach St. Matthew's
  by "Paul Opel" <popel@sover.net>
Re: Looking for organ pipes
  by "Douglas A. Campbell" <dougcampbell@juno.com>
Re: Looking for organ pipes
  by <HFMUSIC@bellsouth.net>
Re: Looking for organ pipes
  by "Ralph Martin" <rmartinjr@email.msn.com>
Thanks!! re: Roller Coaster
  by <danbel@earthlink.net>
The Shrine Kilgen: wind pressures give life to sound (long)
  by <ScottFop@aol.com>
Organist Exchange & Recital Trip - Part Four
  by <Cpmnhartus@aol.com>

(back) Subject: Re: Bach St. Matthew's From: Paul Opel <popel@sover.net> Date: Sun, 23 Aug 1998 07:02:13 -0400   My non-organist wife's favorite organ CD (one of the few which she will listen to at all) is "Festival D'Orgue" by Kevin Buttle, recorded on the Fisk in Jacques Littlefield's house in Portola, CA, Arkay AR6094. The CD is varied and "up", full of bright familiar pieces well played on an exciting instrument.   Paul   http://www.sover.net/~popel      
(back) Subject: Re: Looking for organ pipes From: dougcampbell@juno.com (Douglas A. Campbell) Date: Sun, 23 Aug 1998 09:54:43 EDT     On Sat, 22 Aug 1998 13:40:46 -0700 "Dennis Goward" <dgoward@uswest.net> writes: >I'm looking for a rank of pipes to use in a facade for a (gasp) >electronic >organ. I want them just for display, so they don't need to be in >speaking >condition. just an attractive scale, no more than an 8" stop, >preferably >nice spotted metal. It's just for looks. > >I'm in the Phoenix area, so if you have a rank to either give away or >sell >extremely cheap, let me know. > >Dennis Goward   Why not just be honest and build a facade out of old TVs ?     Douglas A. Campbell Skaneateles, NY   _____________________________________________________________________ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com Or call Juno at (800) 654-JUNO [654-5866]  
(back) Subject: Re: Looking for organ pipes From: HFMUSIC@bellsouth.net Date: Sun, 23 Aug 1998 10:13:57 -0400   Hmmm! How about PVC. Would fit in tonally with the rest of the thing, eh?? ;-)   (sorry, couldn't resist) bruce cornely   Dennis Goward wrote:   > I'm looking for a rank of pipes to use in a facade for a (gasp) electronic > organ. I want them just for display, so they don't need to be in speaking > condition. just an attractive scale, no more than an 8" stop, preferably > nice spotted metal. It's just for looks. > > I'm in the Phoenix area, so if you have a rank to either give away or sell > extremely cheap, let me know. > > Dennis Goward > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > Subscribe/Unsubscribe: mailto:requests@pipechat.org        
(back) Subject: Re: Looking for organ pipes From: "Ralph Martin" <rmartinjr@email.msn.com> Date: Sun, 23 Aug 1998 10:28:48 -0400   Hi Dennis There are a lot of those old Conn pipes things around the country gathering dust. They had, you'll remember a couple of in-built speakers in the chest that supported them. The theory at the time being that the pipes would sound in sympathy with the specific frequencies being played. Frankly, I always thought that they were useless except for decoration. I used a Conn for my old radio show on ABC radio with a 251 Leslie (I'm a theater organ man) but NO Conn pipes.   I'll bet you could get a set for a song if you call around some old dealers.   Ralph Martin        
(back) Subject: Thanks!! re: Roller Coaster From: danbel@earthlink.net Date: Sun, 23 Aug 1998 11:39:43 -0400   >Thanks to all who were so kind to email about the copy of Roller Coaster I >was seeking --- happy to report that I DID find one and have made >arrangements for the copy. > >Thank to all once again!! > >Dan      
(back) Subject: The Shrine Kilgen: wind pressures give life to sound (long) From: <ScottFop@aol.com> Date: Sun, 23 Aug 1998 14:41:11 EDT   I met a man last month at a private concert I performed for at the residence of Ben Robertson, which is about an hour from Pittsburgh. He was 22 years old in 1934 when the Shrine's Grande Kilgen pipe organ was installed and, not only did Fr. Charles Coughlin bring him coffee and doughnuts on the organ bench while he was holding keys for the flue voicer- this individual installed and regulated our reeds. (His name escapes my memory and is written down at the office- that is why I have not printed it). He is in his 90's now and living in Pen Hills- right outside Pittsburgh.   I was delighted to meet him and "pick his brain" while asking the million and a half questions I had for him regarding the instrument (Kilgen). After all- if ANYONE would know- he would (and does).   Many of his answers and insights were truly eye openers. For example:   1. The Grande Kilgen was installed mushg along the same lines of the theatre organs that had been installed in such great quantities in the preceeding years. They had been there only a week or 10 days (to install 100 ranks mind you!) and Kilgen was on the phone begging them to hurry up. he wuoted something resembling the following: "we were working as fast as we could and they were screaming from the factory 'hurry up, aren't you done yet? We have another one for you!'"   2. The Shrine's Kilgen (by simple fact that it was Fr. Coughlin's personal order) was lavished with extra care and attention to detail in its design and installation. Walking through the chambers, though very cramped- it is plain to see that the organ is built like a fortress. Strong, great attention to detail and built to last. And yes- there are 100 ranks crammed into a space that rightfully should have only about 75, but I'm not complaining! Fr. Coughlin personally oversaw and observed every detail of installation of the organ. Remarkably- they got it installed in less than a month.   3. While preliminary voicing was done in the factory and more on sight, it was not (by today's standards) a very refined or somplete job by any means. Basically- they threw it in, got it playing and as smooth as they could in a very rough and hurried manner. (back then it was behind extremely thick grill cloth which has since been removed).   But through the years the organ has always sounded very distant and buried. Not so much because the main divisions have to speak through the gallery arches or because the antiphonal divisions speak through tone chutes in the Sanctuary floor, but becaues the wind pressures were never set where they belonged and, as a result- the pipes were underwinded and didn't speak correctly or with the authority with which they were designed to speak.   Now, first thing that i noticed when I arrived were am abundance of wind leaks. these have been (and are continuing to be) repaired to a great degree indeed. But even after that- something still was not right. The Choir division which is supposed to be on 6" inches was playing between 4-1/2 to 5". The Swell which is supposed to be on 7" was playing on 5-1/2" and the Great which is supposed to be on 8" was playing on 6". The Pedal 16' Bourdon and Violone (which are in the Swell chamber) are supposed to be playing on 8" and were at 6" and the 32' Posaune extension (also in the Swell) is supposed to be on 12" and was on 9". The Solo division, which is being releathered will be back in the next few weeks and is supposed to be playing on 12". It will be interesting to see whereit actually is in comparison to where it SHOULD be.   As of this writing, the Choir and the Swell Bourdon and Violone have been increased. The difference in the speech and timbre of the pipes is incredible- they don't even sound like the same pipes! One of our workmewn went into the Great and pulled the curtain valve chain to "up" the pressure to where it belonged temporarily so we could hear what was in store for us and we were almost knocked over by the difference (literally). Previously, the Swell Bourdon did almost nothing and the Violone was really a blatty, ugly sound. Now- it sounds like playing at the bottom end of a cello's range, and the 32' Posaune now shakes the marble floors downstairs!!   The most notable differences are in the Choir's Hohlflute, Trumpet and Clarinet. the two reeds were "nice" before but now have a life and a presence to them which really beautiful. (Especially the Clarinet played in the tenor range!) The Hohlflute with tremulant is not to be believed it is so pretty now and when used with the 2-2/3' Rohr Nassart (which previously was almost inaudible) provides a lovely solo line. The Dulciana and Unda Maris, which I had tuned BACK to flat where it belongs) have overtones and harmonics now that I never heard before and are truly beautiful indeed.   When the Great was temporarily brought up by habd (until it can be done permanently this coming week)- the reeds before hand were nothing more than three ranks of blatty, uninspiring "halloween horns" laden with speech problems. When brought up to proper pressure- they came to life, became brighter and more fiery (though not in a "French Trompette" character) and finally sounded like a true English Tromba chorus as they were intended to sound. (I can't WAIT to hear what the pressure increase does to the open Wood!)   Just an example of what a little careful research and repair can do to an instrument. And the ironic thing is that it has been playing this way since 1934. Makes one wonder, doesn't it?   Scott F. Foppiano Director of Music and Liturgical Coordinator   PS- besides the contract and it's prointed indications, we found many engravings on the low C pipes of many of the ranks indicating intended pressures, voicers and dates. Pretty cool, huh?  
(back) Subject: Organist Exchange & Recital Trip - Part Four From: <Cpmnhartus@aol.com> Date: Sun, 23 Aug 1998 15:36:18 EDT   from George W. Bay;ey Oak Ridge, Tennessee 23 August 1998   Organist Exchange & Recital Trip - Part Four (Conclusion)   For a moment, back to Northern Ireland   In Part Three, I forgot to mention the Snetzler chamber organ that is located in Hillsborough Parish Church, the church of Sir Hamilton Harty. The case and most of the pipework is Snetzler and it is a delight to play. It is well worth a visit. Housed in the gallery is a three manual organ with much pipework by Snetzler and with additions by Hill, Norman and Beard. Another organ of interest can be seen and played in the grand old house called The Argory. It is a barrel/keyboard organ, so it can be played either way. Some of the barrels are fitted with traditional Irish songs.   For those of you with an interest in 'town hall organs' there is the three manual organ in Londonderry's Guildhall. It was built in 1914 by William Hill & Son and rebuilt in 1978 by Hill, Norman and Beard. Because of bomb damage, the organ was overhauled in 1989 by Wells-Kennedy Partnership Ltd of Lisburn.   London   I spent from 27 July to 1 August at the Royal School of Church Music Holiday Course for Organists which was based at the Church of St. Giles Cripplegate. Anne Marsden Thomas is the director of music at St. Giles and it is here the St. Giles International Organ School is based. The organist of a midwestern American Episcopal cathedral and I were the only Americans there. Others were from Australia, the Republic of Ireland, Scotland, and mostly from England.   The course is structured at three skill levels and it covers hymn playing, service planning, and improvisation. Private lessons are also offered. I was able to observe four of the five organ teachers in action; Anne Marsden Thomas, Neil Cockburn, Ann Elise Smoot, and Martin Baker. These teachers, all fine performers, have a great gift for communicating with students and inspiring them with the desire to improve their skills. The fifth teacher was Gerard Brooks who is equally fine. The course concluded with a lecture, by Dr. Harry Bramma the outgoing president of the RSCM, on the role that organists will be expected to play in the future course of church music.   Course participants took part in playing voluntaries and service music for the daily worship services in St. Giles. There were two student recitals at which many of the students at all skill levels made their contribution. It was encouraging to see several teen-age students playing a a high level of proficiency. It was also delightful to see an 81 year old gentleman who had started organ lessons only a year and a half earlier. It was amazing to see how much he had accomplished musically in that amount of time and to observe the joy with which he viewed his accomplishments.   Two of the organs with which I became acquainted were by Manders; the three manual organ at St. Giles Cripplegate and the recent two manual Mander built in the style of the mid 1800s for St. Andrew's, Holborn. Both organs are trackers and both are splendid instruments that are a delight to play.   I recommend highly this RSCM Holiday Course for Organists. Further information can be obtained from Geoff Weaver, Director of Studies at the Royal School of Church Music.   My stay in London culminated in my recital at St. Paul's Cathedral on Sunday afternoon, 2nd August at 5.00 PM. It was the fourth and final concert of my C. S. Lewis Memorial organ recitals. A large crowd was in attendance including George Fenton the composer of the "Shadowlands" music I transcribed for organ, several of our English friends and some folks from Knoxville, Tennessee.   The St. Paul's organ was originally built by Bernard Schmidt (Father Smith) in 1697 with a case by Sir Christopher Wren and carvings executed by Grinling Gibbons. Some pipework from the original organ survives to this day. It was reconstructed to its present layout by Henry (Father) Willis in 1872 and enlarged to five manuals, including a section in the North East Quarter Dome gallery in 1900. Henry Willis III was responsible for further alterations and electrification of the action in 1925-30. War damage was repaired in 1949 with more repairs in 1960. From 1971-77 N. P. Mander Ltd reconstructed the whole of the action, soundboards, and console, preserving the pipework surviving from the Willis instrument of 1872. The resources of the organ were broadened with much new material, notably the new North Choir, Dome Chorus, and West sections. In 1992, Manders upgraded the console piston system to take advantage of modern solid-state technology and, more recently, it has been possible to restore further some of the sonorities lost in the post-war years.   The work done on this organ by Manders is splendid. Though the organ may be a five-manual, it is one of the easiest-to-play organs I have ever encountered. The layout of the console is convenient and it is a fine example of the high quality of work by the firm. Another Manders restoration I have enjoyed playing, is the magificent Father Willis organ of 1888 at Truro Cathedral. The pipework of the Truro organ is totally original with no changes other than moving the Solo Tuba from the back of the division to the front where it can speak with more authority.   There are many fine organs in London, large to small, new to very old. I will give quick mention to two. One is the fine T. C. Lewis at Southwark Cathedral that has been restored recently by Harrison & Harrison. The other is a fine three-manual Father Willis at Union Chapel in Islington. I believe this organ will soon be restored by a well-lnown English firm. Union Chapel, a grand Victorian building now in a state of "seedy elegance" is also slated for a complete restoration.   After St. Paul's, we had two days for visiting friends and two days at the home office of Copeman Hart. Back to America on 7th August which was a bit of an adventure in itself.   End of 'Epistle'. Thank you for reading.   George   George W. Bayley Senior U. S. Consultant Copeman Hart - America 107 East Pasadena Road Oak Ridge, Tennessee 37830-5112 Tel. 423.482.8600 Fax. 423.482.8600 Email: cpmnhartus@aol.com   COPEMAN HART & COMPANY LTD Church Organ Builders IRTHLINGBOROUGH Northamptonshire ENGLAND NN9 5TZ Tel. +44.1933.652600 http://www.copemanhart.co.uk   AUSTRALIAN CONSULTANCY Copeman Hart - Australia 60 Memorial Avenue ST. IVES NSW 2975 Email: hamilton.stives@bigpond.com (Peter Hamilton)