PipeChat Digest #301 - Thursday, March 19, 1998
 
Southwell Minster/Sheffield Cathedral (was Recitals at  Southwell Minster
  by "Cheryl C Hart" <info@copemanhart.co.uk>
Colin Howland and CRPC
  by <rnickel@itol.com>
Re: Colin Howland and CRPC
  by "bruce cornely" <cremona84000@webtv.net>
Re: Dissonance
  by "j nathan" <jnatpat@sunsix.infi.net>
Organ Restoration Benefit Concert
  by "Judy A. Ollikkala" <71431.2534@compuserve.com>
RTOS Concert Cancellation Clarification
  by "Kenneth W. Evans" <worthles@frontiernet.net>
THE BEST SALESPEOPLE ARE CONVERTS
  by "Ian B. McLean" <solotibia@enternet.com.au>
Re: PipeChat Digest #300 - 03/19/98
  by "MUSCUR" <MUSCUR@aol.com>
Re: PipeChat Digest #300 - 03/19/98
  by "MUSCUR" <MUSCUR@aol.com>
It's That Time Again (Bach's Birthday)
  by "Patricia R. Maimone" <patmai@juno.com>
Simon Gledhills CD - CAROUSEL
  by "KARL W KELLER" <kwkeller@juno.com>
Who Is????
  by "Ruth" <theraven@istar.ca>
 


(back) Subject: Southwell Minster/Sheffield Cathedral (was Recitals at Southwell Minster . . . ) From: Cheryl C Hart <info@copemanhart.co.uk> Date: Thu, 19 Mar 1998 12:18:17 GMT   At 07:59 18/03/98 -0800, you wrote: >No, not two, not three but five postings came up! Good luck with the >concert. > >Glenda Sutton >   Dear Glenda and list members,   I am truly baffled! At most you should have had three of each of the two messages, as I sent them only to three lists. That's the problem when one subscribes to three great lists where most of us share the same interests! I promise to be sparing in the future.   Actually, one thing I did notice when I received the messages myself, and out of curiousity checked to see how they appeared (in view of the recent discussions on MIME, etc), was that the piporg-l system was the only one that did not recognise the Alt+number for the accented characters. Here on pipechat (as well as on eorg-l) it came through exactly as I had typed it.   Perhaps one day we shall be able to get concerts listed on our web site, but right now I'm having enough of a struggle to get 'our man' to get a few more installations listed. He's good and very professional, which is why we're staying with him despite his slowness - which is due to his busy business - and just the thought of trying to get concert changes made on a regular basis gives me a headache! Wish we had time to maintain the web site in-house. St Edmund's School, Canterbury (which is ostensibly the Canterbury Cathedral Choir School) will definitely appear very shortly, with spec, under installations; this was the organ designed and built for Southwell Minster, whilst they were fund raising for the new Nicholson Quire organ, which they sold to St Edmund's School for almost as much as they paid for it several years previously; this is typical of our (very rare) 'second-hand' digital instruments. Although the stop list remained the same, we revoiced it completely to suit the wishes of the Director of Music and the Organist, so it is quite different from when it was in Southwell Minster. (Ignore this plug and I won't mind at all: we can of course also change the specification if it is required.) Sheffield Cathedral is also treating their purchase of the four-manual Copeman Hart as a capital investment, whilst they try to raise money for a new pipe organ. There is a series of recitals and concerts at Sheffield, and when I receive the details I will post them (judiciously!) here. A picture and specification will appear on our web site eventually - just don't hold your breath. How I envy those of you who say "it will appear tomorrow" or "we are adding it now"!   Cheryl                                                         COPEMAN HART & COMPANY LTD Church Organ Builders IRTHLINGBOROUGH Northamptonshire ENGLAND NN9 5TZ   http://www.copemanhart.co.uk Tel +44 (0)1933 652600 Fax +44 (0)1933 652288 ~~~~~~~~~~~~~~~~~~~~ US CONSULTANCY: Copeman Hart - America 107 East Pasadena Road OAK RIDGE TN 37830-5112   Email Cpmnhartus@aol.com Tel 423 482 8600 Fax 423 482 8600 ~~~~~~~~~~~~~~~~~~~~ AUSTRALIAN CONSULTANCY: Copeman Hart - Australia 60 Memorial Avenue ST IVES NSW 2075   Email hamilton.stives@bigpond.com Tel 0414 477 352 or 02 9983 9775 Fax 02 9983 9709 ~~~~~~~~~~~~~~~~~~~~    
(back) Subject: Colin Howland and CRPC From: rnickel@itol.com Date: Thu, 19 Mar 1998 09:53:57 -0600 (CST)   On Sunday mornings, I have always made it a habit to tune into the Choral Ridge service, which airs at 7 a.m. in Wisconsin. By 7:15, I must be on my way to prepare for my own worship services, but this gives me enough time to hear/see the opening hymn/processional and the choir anthem. I enjoyed watching Diane Bish and have enjoyed watching Colin Howland as well. Great musicians. Great organ. Wonderful choir!!!   Best of luck, Colin.   Bob Nickel    
(back) Subject: Re: Colin Howland and CRPC From: cremona84000@webtv.net (bruce cornely) Date: Thu, 19 Mar 1998 11:28:35 -0500   >I have always made it a habit to tune in to >Coral Ridge..... which airs at 7 AM   Bob, How exciting! I had no idea that 7 also came in an AM version!! I must check that out! 8-) ....   bruce cornely o o o __________ o o o ago (dean) ohs o o __________ o o  
(back) Subject: Re: Dissonance From: j nathan <jnatpat@sunsix.infi.net> Date: Thu, 19 Mar 1998 16:18:57 -0600   Jim H wrote: > > Ken wrote: > > > > karencl@worldnet.att.net wrote: > > Sorry to bother...am having server troubles.. I just got these messages....from back in August! Any reason or something I am doing wrong? JNP  
(back) Subject: Organ Restoration Benefit Concert From: "Judy A. Ollikkala" <71431.2534@compuserve.com> Date: Thu, 19 Mar 1998 18:10:32 -0500   WORCESTER MA St. Joseph Church, 35 Hamilton St. (off Rt. 122 South) Friday, March 27 at 7:30pm Organ: Lois Toeppner Soprano: Maria Ferrante Trumpet: Daryl Robbins Music by Bach (Sonata for Organ, Soprano, Trumpet), Vierne (Finale from Symphonie I), Telemann, Mendelssohn, Steel, Hebble, and other composers Free-will offering to benefit restoration of Casavant-Freres Opus 1239, 1928, 3 manual, 33 stops, 29 ranks in a superb acoustical setting   e-mail privately for directions 71431.2534@compuserve.com  
(back) Subject: RTOS Concert Cancellation Clarification From: "Kenneth W. Evans" <worthles@frontiernet.net> Date: Thu, 19 Mar 1998 17:25:39 -0500   In my haste to get the word out about our concert cancellation, I have been told that one sentence "The cancellation has been necessary because the 4-manual console restoration by Carlton Smith is incomplete." has been misinterpreted by some to mean that Carlton had shipped the console to us before completion of its restoration. This was not my meaning--I meant that the console had not been received by RTOS in time for the concert because the restoration work in Carlton Smith's shop was still in progress. I have always heard that Carlton has never shipped anything that did not meet his exceptionally high standards of quality. I hope this note clarifies that ambiguous interpretation of that sentence in the first message.   Ken Evans RTOS Director   The original message sent on 3/17/98: > The Rochester Theater Organ Society regrets to announce that the Lew gans.com/rochestr for the latest >in scheduling news. Our apologies to Lew Williams and to any of you >that may have planned to attend. > > If the console is ready for the April concert date, all of you will > probably be invited to be our (yes-free) guests. Please stay tuned! > > For RTOS, Ken Evans Director  
(back) Subject: THE BEST SALESPEOPLE ARE CONVERTS From: "Ian B. McLean" <solotibia@enternet.com.au> Date: Fri, 20 Mar 1998 11:37:29 +1100   I wrote the following for the orgue-l list. However, I believe this to be such a seminal recording, that I wanted to pass on my thoughts to this list as well. If you've got contacts outside the theatre organ world, let them know about this CD, and see what happens. I'm always advocating spreading the word, when something worthwhile comes along, and here is one of those opportunities.     >From orgue-l (with some grammar and spelling cleanups);   If ever there was any question about the consummate keyboard artform being virtuoso pipe organ performance, then a CD that arrived today makes this claim an impenetrable reality.   If ever there was any question that the "theatre" pipe organ sits equally, or some may say, at the pinnacle of this performance artform, then this CD is yet another example of this.   The "hobbyists" and the cognoscenti of the theatre organ world who derided, and continue to attempt to take the shine off the world's largest theatre pipe organ, with comments such as "just another rich man with no taste" building a wasteful amusical edifice, have been proved wrong again.   Here is a CD that can take its place on any classical FM radio programme (as discussed here recently), as well as on any M.O.R. popular station. However, this doesn't mean for a second that we have in this product, no that is wrong, this work of art, and some Muzak interpretations of some orchestral and popular works. To the contrary. Rarely do I get to hear any musician, which can completely be at one with his performance, but allow the music to shine rather than the musicians themselves. Cecilia Bartoli can do this with Rossini and Mozart. Winton Marsalis can do it with Handel, and Ellington. Carol Kidd can do it with her special jazz interpretations. Yet, in this quite incredible release, there are simply astounding insights to the music provided by the most sensitive registrations, phrasing and exquisite dynamic control that I have experienced from a theatre pipe organ performance. How this organist can provide so much interpretative support without damaging the composer's intent, and not get in the way of music, is beyond words.   This recording is "Carousel" by Simon Gledhill. The instrument is the 5/80 modern theatre/orchestral pipe organ owned by Jasper and Marian Sanfilippo.   The instrument was the brainchild of one extraordinary visionary pipe organ builder, Dave Junchen. He, sadly, is no longer with us. The instrument is sheer genius. It is not 80 ranks for the sake of having 80 ranks. However, despite the glimpses of what was possible in some recordings by Lyn Larsen, this CD delivers on the minds eye expectations of the instrument's designer. The dynamic shadings that Gledhill delivers are akin to a symphony orchestra. His sense of humour, but at all times contextual rightness, in his choice of stops, and their contrasts practically displays an instrument conception that truly shows what a loss we did suffer when Dave Junchen left us.   That Gledhill can get inside that conception and draw on it to such effect, is Simon Gledhill's ability to deliver from the Junchen vision, coupled with impeccable timing, and natural weighting of every note, means that even what was for me, the pot boiler, Rossini's "Thieving Magpie Overture" , caused me look again at the liner notes to be sure that this was, indeed what I was listening to! Not because of some overlaid interpretation or improvisation where the original was lost, but just through this organist's respect for the music, and of course, his listeners. If you were a conductor, you would be mighty pleased if an orchestra could make a performance this convincing occur. My view of this composition has now been changed forever.   Respect for the music? Yep. There is no cynicism here. No jaded, "ah, well, another few grand for the bank", and to hell with the music. Simon shows respect for all of the factors involved. There is no "well, we've got a 100 ranks of strings, so let's put'em all on", or, "we've got an En Chamade so let's showcase it with sumpin'". Even this enormous piece of brass eloquently speaks in a selection as if it were just another resource to highlight that which the composer wished. So, the instrument under this artist's hands is always at the service of the music, and not the other way around.   Holst's "The Planet's" is as it should be. Mysterious. Bold. Introspective. The instrument, under Simon's fingers is a servant to make Holst's intents come alive. And how! No fuss. But you will not be able to read while listening. Whether it is during the quieter passages or the dynamic deliveries. Simon Gledhill has your undivided attention. As he will in every other selection, with the only exception, for me, being "The Haunted Ballroom" by Geoffrey Toye.   The John Williams "Suite from E.T.", the title "Carousel", and the already mentioned, the Planets, will sweep you off your feet. Every note has a value, and a very high value in Simon's hands. Not one of them is treated with disdain, or cheaply. The interest that this caused for this listener created goose bumps. Yet, at all times, I was unaware of the incredible technical tour de force that was occurring. This is a Gledhill trademark. That of making the music the focus, and not some flicker fingers freak show that can so often be the case. Other numbers include Billy Mayerl's "Ace of Hearts", The Mario Lanza hit "Be My Love", and Harold Arlen's gorgeous, "The Man That Got Away".   There is an another exceptional situation with this recording. Long time theatre organ star (he will love me for that!), Lyn Larsen, is the curator of the instrument. Not only did Lyn support, and actively encourage this recording by Simon, which eclipses all of its types that has preceded it, regardless of instrument, but he is distributing and promoting its sale! He has not been concerned about the probable artistic outcome, and tried to keep the instrument to himself, but he has done something truly worth noting in any artform. My thanks, indeed.   The Sanfilippos could have gone the big, for the sake of big, and they chose not to do this. For the supposed $3 million dollars, it could have been tempting. In allowing an artisan in Dave Junchen, (completed by Lyn Larsen as Dave died towards the end of the project) to realise a dream, they have forever changed what is possible from a "theatre pipe organ". I have been privy to some test tapes made by other visiting organists to Sanfilippo's Place de la Musique, and they all have one thing in common - I have never heard these organists play as well, or as they have on this, NEW instrument. I believe that it is only the beginning of more to come. This is yet another reason to laud Lyn Larsen.   The quite incomparable Simon Gledhill, has produced what is a musical work of art that shows a path of the future. A path of music with integrity, but excitement. He, and in quite a different, and the derivative American stylistic, Barry Baker, is taking us on a great musical ride! Then, there is Jelani Eddington who shows promise in the Gledhill idiom, and the very special John Giaachi from downunder, and of course the original standard setters in the orchestral stakes, Walter Strony and Tony Fenelon. So, it is exciting times. Now, if we could only get the good burgers of the organ worlds to ensure appropriate airplay, then.........................   Finally, if I was in better financial shape, I would purchase a copy of "Carousel" this for each of you on this list. Why? I would love to be to share what is a truly special musical piece of art. And, for the disbelievers out there who had to ask Brian Styles whether theatre organ has a place on this list, well, the best salespeople are converts!     Ian McLean       Brian asked me to provide the following info:   CD Number: MC-210 COST: $19.95 USD (inc. postage within U.S.) POSTAGE: $4.00USD (overseas) $2.00USD for every extra CD ordered. PAYMENT TO:   Musical Constrasts P.O. Box 16786 Pheonix Arizona U.S.A. 85011   Visa and Mastercard option as well, but ONLY for overseas orders (finally!)   Check or money order as well. (but no credit cards in the U.S.).   All that I did was total up my CD's, add the postage, sign, and add my Visa card number and four digit expiry date and they were here within two Weeks although I was told not to expect anything in under four weeks..   Once you're a purchaser Kerry maintains excellent management of the Mailing list.     I've just had a look at the Lyn Larsen website;   http://www.swlink.net/~musicon/   and April will see the following released;   Simple Gifts   Recorded on the Worlds Largest Theatre Pipe Organ: The Sanfilippo 5-manual, 80-Rank Wurlitzer   Six of the world's top organists have gathered together and generously donated their spectacular talents for a gala benefit recording on the world's largest and finest theatre pipe organ. =95 Carlo Curley - Intermezzo from the "Sixth Symphony" - "Melody in A" - "Ride of the Valkyries" =95 Simon Gledhill - "Chanson de Matin" - "Remember Me" - "Two Cigarettes In The Dark" =95 Tom Hazelton - Adagio from Gershwin's "Concerto in F" - "On A Spring Note" - "Simple Gifts" =95 Lyn Larsen - "Fleurette" - "Mary, What Are You Waiting For?" - "Toy Trumpet" =95 Ron Rhode - "We Just Couldn't Say Goodbye" - "In A Chinese Temple Garden" - "Who" =95 Walt Strony - "Hooray For Hollywood" - "Nessun Dorma"   This could also be must have. I should also have mentioned the excellence of the recording quality. The curator, Robert, engineers them   Ridgeway.   NOTE: LORD OF THE MAUVE KINGDOM IS INCLUDED AS A PERFORMER IN "SIMPLE GIFTS"!     Ian McLean     And for those in the U.K.;   'Carousel', the new CD by Simon Gledhill at the Sanfilippo theatre organ, so eloquently and accurately described by Ian McLean recently, is also available in Britain for 12.70 UKP, postpaid, from Simon Gledhill, c/o 13 Norton Street, Elland, West Yorkshire, HX5 0LU.   John Leeming.  
(back) Subject: Re: PipeChat Digest #300 - 03/19/98 From: MUSCUR <MUSCUR@aol.com> Date: Thu, 19 Mar 1998 20:34:53 EST   In a message dated 98-03-19 05:01:30 EST, you write:   > Re: Lincoln NE Schoenstein (x-post) > by "David Scribner" <david@blackiris.com> >  
(back) Subject: Re: PipeChat Digest #300 - 03/19/98 From: MUSCUR <MUSCUR@aol.com> Date: Thu, 19 Mar 1998 20:34:05 EST   In a message dated 98-03-19 05:01:30 EST, you write:   > Lincoln NE Schoenstein (x-post) > by <mewzishn@spec.net> >  
(back) Subject: It's That Time Again (Bach's Birthday) From: patmai@juno.com (Patricia R. Maimone) Date: Thu, 19 Mar 1998 22:05:00 -0500   * * * Johann Sebastian Bach turns 313 Saturday, March 21. * * *   Come celebrate with us at the *Post Chapel, West Point, NY, in an afternoon of music and mirth! *The Post Chapel is the `little one' up Biddle Loop from the Post Exchange off Washington Road. It is _not_ the large Cadet Chapel that looks like a cathedral! The organ is a 3 manual, 57 rank hybrid. It started as an Aeolian-Skinner at the NBC Studios, was given to the Post Chapel in 1951. Uncle Sam added a Moller console in 1970, and c. 25 Gress-Miles ranks were added in 1977-78, early in my administration.   Participants are primarily members of the West Point community.   Organ solos will include: Chorale Preludes from the Orgelbuechlein Herr Christ, der einig Gottes Sohn Christ lag in Todesbanden non-Orgelbuechlein setting of Herzlich tut mich verlangen   Your correspondent will be at the console to lead the singing of a chorale and participate as a continuo player and/or orchestral pinch-hitter in the following:   Aria: My Heart Ever Faithful from Pentecost Cantata No. 68 excerpts from "Wedding Cantata" BWV 202 Aria: Weichet nur, betruebe Schatten for soprano with oboe + strings Recit: Und dieses ist das Gluecke Aria: Sich ueben with oboe and continuo   also there will be a Brass quartet Aria and March from Anna Magdalena Notebook Fugue No. 18 from Well-Tempered Clavier, Bk 1   piano solos Prelude in C Sharp Major WTC, Bk I Prelude in C Minor, WTC, Bk I   Special refreshments, including birthday cake, will follow the 1 PM concert.   For further info: Pat Maimone via e-mail or call 914 938-2959 office any time.. (voice mail)     _____________________________________________________________________ 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: Simon Gledhills CD - CAROUSEL From: kwkeller@juno.com (KARL W KELLER) Date: Thu, 19 Mar 1998 23:17:17 EST   Ian McLean posted the following in regards to Simon's new CD. I concur 100%. If anyone likes the music from the musical "Carousel" this CD is a MUST. I just bought my copy of this CD on 3/14 and I would guess I have played it about 8 to 10 times. GO FOR IT.   Karl Musica est Dei donum optimi   On Fri, 20 Mar 1998 11:37:29 +1100 "Ian B. McLean" <solotibia@enternet.com.au> writes:   >If ever there was any question about the consummate keyboard artform >being virtuoso pipe organ performance, then a CD that arrived today >makes this claim an impenetrable reality. > >If ever there was any question that the "theatre" pipe organ sits >equally, or some may say, at the pinnacle of this performance artform, >then this CD is yet another example of this. > >The "hobbyists" and the cognoscenti of the theatre organ world who >derided, and continue to attempt to take the shine off the world's >largest theatre pipe organ, with comments such as "just another rich >man >with no taste" building a wasteful amusical edifice, have been proved >wrong again. > >Here is a CD that can take its place on any classical FM radio >programme >(as discussed here recently), as well as on any M.O.R. popular >station. >However, this doesn't mean for a second that we have in this product, >no >that is wrong, this work of art, and some Muzak interpretations of >some >orchestral and popular works. To the contrary. Rarely do I get to hear >any musician, which can completely be at one with his performance, but >allow the music to shine rather than the musicians themselves. Cecilia >Bartoli can do this with Rossini and Mozart. Winton Marsalis can do it >with Handel, and Ellington. Carol Kidd can do it with her special jazz >interpretations. Yet, in this quite incredible release, there are >simply >astounding insights to the music provided by the most sensitive >registrations, phrasing and exquisite dynamic control that I have >experienced from a theatre pipe organ performance. How this organist >can >provide so much interpretative support without damaging the composer's >intent, and not get in the way of music, is beyond words. > >This recording is "Carousel" by Simon Gledhill. The instrument is the >5/80 modern theatre/orchestral pipe organ owned by Jasper and Marian >Sanfilippo. > >The instrument was the brainchild of one extraordinary visionary pipe >organ builder, Dave Junchen. He, sadly, is no longer with us. The >instrument is sheer genius. It is not 80 ranks for the sake of having >80 >ranks. However, despite the glimpses of what was possible in some >recordings by Lyn Larsen, this CD delivers on the minds eye >expectations >of the instrument's designer. The dynamic shadings that Gledhill >delivers are akin to a symphony orchestra. His sense of humour, but at >all times contextual rightness, in his choice of stops, and their >contrasts practically displays an instrument conception that truly >shows >what a loss we did suffer when Dave Junchen left us. > >That Gledhill can get inside that conception and draw on it to such >effect, is Simon Gledhill's ability to deliver from the Junchen >vision, >coupled with impeccable timing, and natural weighting of every note, >means that even what was for me, the pot boiler, Rossini's "Thieving >Magpie Overture" , caused me look again at the liner notes to be sure >that this was, indeed what I was listening to! Not because of some >overlaid interpretation or improvisation where the original was lost, >but just through this organist's respect for the music, and of course, >his listeners. If you were a conductor, you would be mighty pleased if >an orchestra could make a performance this convincing occur. My view >of >this composition has now been changed forever. > >Respect for the music? Yep. There is no cynicism here. No jaded, "ah, >well, another few grand for the bank", and to hell with the music. >Simon >shows respect for all of the factors involved. There is no "well, >we've >got a 100 ranks of strings, so let's put'em all on", or, "we've got an >En Chamade so let's showcase it with sumpin'". Even this enormous >piece >of brass eloquently speaks in a selection as if it were just another >resource to highlight that which the composer wished. So, the >instrument >under this artist's hands is always at the service of the music, and >not >the other way around. > >Holst's "The Planet's" is as it should be. Mysterious. Bold. >Introspective. The instrument, under Simon's fingers is a servant to >make Holst's intents come alive. And how! No fuss. But you will not be >able to read while listening. Whether it is during the quieter >passages >or the dynamic deliveries. Simon Gledhill has your undivided >attention. >As he will in every other selection, with the only exception, for me, >being "The Haunted Ballroom" by Geoffrey Toye. > >The John Williams "Suite from E.T.", the title "Carousel", and the >already mentioned, the Planets, will sweep you off your feet. Every >note >has a value, and a very high value in Simon's hands. Not one of them >is >treated with disdain, or cheaply. The interest that this caused for >this >listener created goose bumps. Yet, at all times, I was unaware of the >incredible technical tour de force that was occurring. This is a >Gledhill trademark. That of making the music the focus, and not some >flicker fingers freak show that can so often be the case. Other >numbers >include Billy Mayerl's "Ace of Hearts", The Mario Lanza hit "Be My >Love", and Harold Arlen's gorgeous, "The Man That Got Away". > >There is an another exceptional situation with this recording. Long >time >theatre organ star (he will love me for that!), Lyn Larsen, is the >curator of the instrument. Not only did Lyn support, and actively >encourage this recording by Simon, which eclipses all of its types >that >has preceded it, regardless of instrument, but he is distributing and >promoting its sale! He has not been concerned about the probable >artistic outcome, and tried to keep the instrument to himself, but he >has done something truly worth noting in any artform. My thanks, >indeed. > >The Sanfilippos could have gone the big, for the sake of big, and they >chose not to do this. For the supposed $3 million dollars, it could >have >been tempting. In allowing an artisan in Dave Junchen, (completed by >Lyn >Larsen as Dave died towards the end of the project) to realise a >dream, >they have forever changed what is possible from a "theatre pipe >organ". >I have been privy to some test tapes made by other visiting organists >to >Sanfilippo's Place de la Musique, and they all have one thing in >common >- I have never heard these organists play as well, or as they have on >this, NEW instrument. I believe that it is only the beginning of more >to >come. This is yet another reason to laud Lyn Larsen. > >The quite incomparable Simon Gledhill, has produced what is a musical >work of art that shows a path of the future. A path of music with >integrity, but excitement. He, and in quite a different, and the >derivative American stylistic, Barry Baker, is taking us on a great >musical ride! Then, there is Jelani Eddington who shows promise in the >Gledhill idiom, and the very special John Giaachi from downunder, and >of >course the original standard setters in the orchestral stakes, Walter >Strony and Tony Fenelon. So, it is exciting times. Now, if we could >only >get the good burgers of the organ worlds to ensure appropriate >airplay, >then......................... > >Finally, if I was in better financial shape, I would purchase a copy >of >"Carousel" this for each of you on this list. Why? I would love to be >to >share what is a truly special musical piece of art. And, for the >disbelievers out there who had to ask Brian Styles whether theatre >organ >has a place on this list, well, the best salespeople are converts! > > >Ian McLean   _____________________________________________________________________ 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: Who Is???? From: Ruth <theraven@istar.ca> Date: Thu, 19 Mar 1998 23:20:28 -0500   Hello Listers,   Out of all the postings I have read since I joined this list... not that long ago ... a name keeps popping up...that of "bruce cornely". His postings are quite unique and interesting. I am very curious to know who he is. Since most of you have probably been on this list for a while, perhaps someone can give me some clues.   Thanks, Curious Ruth