PipeChat Digest #965 - Thursday, July 1, 1999 Winfield Austin saved by "Frank Johnson" <firstname.lastname@example.org> RE: Winfield Austin saved by "Dennis Goward" <email@example.com> Winfield Austin Saved by "VEAGUE" <firstname.lastname@example.org> RE: Winfield Austin saved by "Frank Johnson" <email@example.com> Re: Winfield Austin Saved by "Frank Johnson" <firstname.lastname@example.org> Calliope thread by <KriderSM@aol.com> Re: Winfield Austin saved by <GRSCoLVR@aol.com> RE: Winfield Austin saved by "Ron Yost" <email@example.com> It's Tuesday in Worcester (well, it was!) by <ManderUSA@aol.com> Re: Calliope thread by "Ron Yost" <firstname.lastname@example.org> Small Organs by "Dennis Goward" <email@example.com> Re: =3D?utf-7?Q?RE=3D3A_4th_of_July?=3D by <firstname.lastname@example.org>
(back) Subject: Winfield Austin saved From: Frank Johnson <email@example.com> Date: Wed, 30 Jun 1999 23:32:25 -0500 (CDT) Since January I have been working on a project to save a small (2/4 Austin from the wreckers ball. As of noon today that organ has been removed and stored for (hopefully) future use. I'll have the complete details in the next several days. Thanks to all who offered suggestions and help. Frank Johnson Frank R. Johnson (KA0API) Spirit of New Orleans - clarinet/leader http://www.hit.net/~usd465/ 1922 E. 14th Winfield, KS 67156
(back) Subject: RE: Winfield Austin saved From: "Dennis Goward" <firstname.lastname@example.org> Date: Wed, 30 Jun 1999 21:51:42 -0700 > Since January I have been working on a project to save a small (2/4 > Austin from the wreckers ball. As of noon today that organ has been > removed and stored for (hopefully) future use. Way to go, Frank! Dennis
(back) Subject: Winfield Austin Saved From: "VEAGUE" <email@example.com> Date: Thu, 1 Jul 1999 00:05:24 -0500 Good going on saving that little gem. The Central Florida ATOS saved a = 2m/5r Wurli. and is now in the Pinellas Park Civic Center. Rick dutchorgan+AEA-svs.net
(back) Subject: RE: Winfield Austin saved From: Frank Johnson <firstname.lastname@example.org> Date: Thu, 1 Jul 1999 00:06:30 -0500 (CDT) > >> Since January I have been working on a project to save a small (2/4 >> Austin from the wreckers ball. As of noon today that organ has been >> removed and stored for (hopefully) future use. > >Way to go, Frank! > >Dennis Thank You Dennis, Frank Frank R. Johnson (KA0API) Spirit of New Orleans - clarinet/leader http://www.hit.net/~usd465/ 1922 E. 14th Winfield, KS 67156
(back) Subject: Re: Winfield Austin Saved From: Frank Johnson <email@example.com> Date: Thu, 1 Jul 1999 00:08:42 -0500 (CDT) >Good going on saving that little gem. The Central Florida ATOS saved a = 2m/5r >Wurli. and is now in the Pinellas Park Civic Center. > >Rick dutchorgan+AEA-svs.net Thank You Rick Frank Frank R. Johnson (KA0API) Spirit of New Orleans - clarinet/leader http://www.hit.net/~usd465/ 1922 E. 14th Winfield, KS 67156
(back) Subject: Calliope thread From: KriderSM@aol.com Date: Thu, 1 Jul 1999 01:26:18 EDT This line is just a bunch of hot air! <grin> Stan Krider Stanley Lowkis wrote: >> Bruce, I am dissapointed... > >If you start a "calliope thread" on this list, even if it doesn't > >erupt into an actual flame war... >> >> It COULD get some list members ALL STEAMED UP about this topic >> that can get TOO HOT TO HANDLE, sometimes... >> >> Sorry to inject a SOUR NOTE, but after all, this IS a CALLIOPE thread. and John L. Speller "spouted"back: >We could certainly get into hot water talking about calliopes, but we >need to let off steam occasionally, and I hope that we can discuss >things amicably without blowing our safety valves. We should probably >avoid superheating the discussion by discussing such topics as >electronic vs. pipe calliopes, tracker vs. electric calliopes, etc.
(back) Subject: Re: Winfield Austin saved From: GRSCoLVR@aol.com Date: Thu, 1 Jul 1999 01:31:35 EDT Nice going Frank,,,and crew! Another Austin successfully saved. Now,,,on = to the plans of reinstallation in a new home hopefully after a little break = to catch your collective breaths. :-). Then you can push the start button = and hear the sweet sounds of success!:-) Kind Regards, ---Roc
(back) Subject: RE: Winfield Austin saved From: Ron Yost <firstname.lastname@example.org> Date: Wed, 30 Jun 1999 22:48:55 -0700 YAYAYAYAY!! Good on ya', Frank! :-) Ron Yost
(back) Subject: It's Tuesday in Worcester (well, it was!) From: ManderUSA@aol.com Date: Thu, 1 Jul 1999 01:47:27 EDT Dear Lists, I did not get off to a good start today! I opted to work in my room this morning until 10:30, not attending any of the workshops, none of which = were particularly of great interest to me. On the little city maps we had been given, Our Lady of the Angels looked to be an easy walk, so I allowed 30 minutes for the journey. There were no busses from the hotel, as the workshops were elsewhere. Well, after the fact, I was told the trip was = about five miles, which I think cannot be right, considering that I *did* make = it to the church, albeit about 20 minutes late. Toward the end of the very = hot walk, temptation was put in my path in the form of a sign that read: "Worcester's Coldest Beer." I resisted, and arrived at the church to see = the outside doors closed. Good sign, I thought - must be air conditioned, but while the contrast between out and in felt quite good at first, there were = only fans. While I *was* evaporating, it would have been faster with real chilled air. Anyway, I arrived in the middle of the Albright Organ Book = III, Volume 2, having missed the de Grigny Pange lingua, which I really would = have liked to have heard, and The Wedge P & F which began the program. I was = told that Martin played the entire Prelude and Fugue on one registration, which = would, no doubt, have made me jumpy at all the little episodes that seem = to me to clearly want registration changes. This was a topic of discussion at = the dinner table this evening. The change-ists carried the day, I think. = My question to anyone on the lists is: "Where is it written that one should = play this work on one registration?" Anyway, Martin Jean is a superb player, which I already knew, and which = the Albright performance demonstrated anew. There followed an anonymous work called Cecilia, a theme with five charming variations, from a manuscript = in the Yale library, transcribed by Charles Krigbaum, who retired a year ago after a lot of years as a distinguished professor of Organ at Yale. Subtle = articulation and inventive registration brought this work to life. The program closed with a really powerful performance of the Dupre Second Symphony, which brought the audience to its feet cheering at the end. I = need to work at loving that piece. I feel sure the problem is me, not the = music, and I will get there one day with the aid of exciting performances like we = heard today. The Organ at Holy Angels (J.W. Walker, 1984) is of great interest from a number of standpoints, not the least of which is its success as an engineering feat for a mechanical organ. The console is in the center of = the balcony, with ruckpositif behind the organist (where else?), a case to the = extreme left of the balcony with Great and Pedal, and another to the = extreme right containing the Swell division. This complicated action is pleasantly = playable. The sound of the organ is to me, a bit of a throwback to the = 60s, with quite high-pitched and pungent mixtures which dominate the full ensemble, which is, perhaps, just a bit on the thin side. One Worcester organist told me today that it was originally somewhat thinner, but had = been rescaled sometime after the original installation. But it does give a = quite good account of itself, is filled with beautiful solo and small ensemble sounds, and is also a striking visual statement. It was so very nice to retrace my steps back to the hotel, but this time = on an air-conditioned bus! After lunch at the hotel, we walked across the = street to Wesley UMC, for what was billed as a "Convention Sing," with Alice = Parker. This church is home to a quite large four-manual AEolian-Skinner Organ, = which began life as a Skinner organ in 1927. Think what the Skinner shop must = have been like in the last couple of years before the great Stock Market crash. = I am told that each year's crop then was around 50 instruments, = approximately one a week, and this output included large organs like Wesley, Hill Auditorium at UMich, Rockefeller Chapel at U. of Chicago, Princeton University, Christ Church, Cranbrook in Michigan, and lots of others. In 1955, G. Donald Harrison supervised the rebuilding of the Wesley organ, = and one change is a bit angry-making. The Great 16' Open was replaced by a Quintaton! That's what people did in those bad old days. Did not Harrison = say that the "Quintaton provided gravity without weight," or some such thing. Give me weight, anytime!! Anyway, having said all this, we did *not* get = to hear the organ, but Alice Parker, in her charming, clear, and effective = way put us through her brand of choral sensitivity training. I could only be there for the first 20 minutes, so if I missed something, I hope someone = else will fill us in. I worked in my room during the afternoon workshop sessions, and I realize = I must state here that my non-attendance at workshops in no way should be = taken to indicate that these were in any way lacking in interest. There truly = was something for everyone, and lots of people have spoken of how enriching = were various sessions. I just made the decision that they did not apply to my needs personally, and that I had other pressures to which I had to = respond. I am going to one Wednesday afternoon, about which I hope to have something = to report. Solemn Choral Vespers for the Solemnity of Ss. Peter and Paul, at the Cathedral of St. Paul. This was something else!! Drammatis Personnae: a = score of vested clergy, including the Bishop, a superb choir, its conductor John = Edward Sittard, The Worcester Trombone Consort, Organist Mark Dwyer, a big = old Casavant in the back, some Wicks up front, and clouds and clouds of beautiful smoke!! The music began auspiciously with the Brass - Sing and = Be Joyful, Karl Heinrich Graun, something labelled as Communion Hymn, by John = Huss (1369-1415), and then with organ, a Sonata for Four Trombones and = Organ, by Daniel Speer (1636-1707). Our next printed instruction said "As the = bells begin to ring, please stand for the procession." Ever obedient, we did = just that, and waited. Nothing happened, so we of course looked west to see an amazing sight - several vested clergy making very strange up and down = motions with their arms. It took a while for us to realize collectively that they were trying to motion us to sit down. Very gradually, we did that, only to = have more bells ring to say it is now the real thing. Down came the procession, as the choir sang beautifully a lovely setting of Phos Hilaron = by Frank Ferko. At this point, we met "The Presider," as he was listed in the = program. He was a priest serving as what we might, in an earlier time, = have called a cantor. He gave out the openings of chants, and either we or the choir responded. Well, this saintly-looking man had obviously knelt on = some mountain top at the feet of Ravi Shankar to study musical intervals. I = have never been good at quarter tones, or else my friends have been too polite = to tell me. This man has invented a whole new musical language, and it is a tribute to all in choir and congregation that the responses to his = openings turned out o.k. I am being a bit cruel here, but there does come a point = when the crows ought to step aside and let the bluebirds in, or however that = goes. Quite seriously, we were treated throughout the service to some very interesting chants called "Plainsong New," and I found them very beautiful = and impressive. Some on these lists will, no doubt, know this music. As an = office hymn, we raised the roof with Lasst uns erfreuen, with a Richard Proulx Brass accompaniment. Following this were two Psalms, chants again called Plainsong New, quite beautiful, done by all, with the verses sung = by various ensembles from the choir in creative and wonderful arrangements, wonderfully and expressively sung. I found that whole exercise extremely moving. Then, a canticle from Ephesians 1:3-10, in a setting by John F. Delorey, commissioned by Cathedral Music in Worcester in celebration of = the 1999 American Guild of Organists Region I Convention. This was fabulous, with a great organ underpinning by Mark Dwyer, building to a great climax at = the end. At this point, we were treated to a sermon - doesn't that sound a bit strange? The homilist was the Reverend Andre Dargis, Worcester AGO Chapter = Chaplain, who clearly spoke as one who fully understands the perils and = joys of those who insist upon making music in churches. There was a fine 17th century Magnificat with Organ, Choir and Brass by Sebastian Aguilera de Heredia, and after Intercessions and a chanted = Lord's Prayer, we settled down for three motets. The work of Frank Ferko is new = to me, and I have a feeling I am the only one around who does not know his music. Anyone writing to the text "I was glad" is always running the = danger of comparison, but no problem here. There is room for a smaller-scale unaccompanied work on this glorious text, and here is one highly = recommended. There will always be room for the Parry! Then a lovely Durufle work I had = not heard, a setting of Tu es Petrus. Finally, Solemn Vespers should have a Te = Deum, and it has been a long time since I have played, sung, or heard the Vaughan Williams in G. What a glorious work, sung, well, gloriously! If = you have read my Monday review, you can understand that we were all = predisposed to loving the present Bishop of the Worcester Diocese, Daniel P. Reilly. = He it was who allowed the reopening of St. Joseph's Church, closed without reason by the previous bishop. Was it Paul who said "he who sings, prays twice?" This Bishop prays at least twice, as became apparent at the time = of the Pontifical Blessing. Then, to the tune Aurelia, we sang "O Christ the great foundation," with glorious Brass parts by John Sittart. A postlude, Gaudeamus, by Richard Proulx ended the service on a high note. It is nice = to be able to say at a convention of organists that a great service like = this, a non-Eucharistic service, rises and/or falls on the shoulders of the = musician in charge. The clergy can dress up and do their thing, swing their = thuribles, say their bit, but it's the man in charge of the music who hits us the hardest. Well, John Edward Sittard hit us hard in all the very best ways, aided mightily by Mark Dwyer's most supportive accompaniments. The choir = was superb, flinging their sound to the far corners of this very fine = building, and singing wonderfully musically at all times. They clearly love what = they are doing, as well they should. After dinner at the hotel, we bussed our ways to All Saints for a drink at = the well of the sort of real refinement that nourishes the musical sensitivies we hone throughout our musical and earthly lives. The = combination of Thomas Murray and AEolian-Skinner Opus 909 of 1933 is a natural, and together, they delighted a packed house, and a very warm one at that, with = the following program: Mozart: Introduction and Fugue in G Minor, K. 401 (c. 1773). This, like = the two well-known F Minor fantasias, might have been intended for the organ, = and is found amongst the four hand piano works. The ever inventive = Thalben-Ball had produced an organ version of the work, and also written a great introduction to it, somewhat in the Mozartian style. It was this that Tom played to begin his program. Next, a charming Obbligato for Flutes on an (unfamiliar) Advent Melody (1964) by the late Clarence Mader, one of Tom's = teachers. As the major and last work on the first half of the program, Tom = played the Severn Suite of Sir Edward Elgar, in his (Tom's) own = transcription for organ. There are five movements, played without pause: Introduction (Worcester Castle - nice touch, that!), Toccata (Tournament), Fugue (Cathedral), Minuet (Commandery), and a Coda, going back to some of the themes of Worcester Castle. Transcribing this huge orchestral score for = the organ, and then bringing it to the instrument to actually play it, is just = a huge gift to us all, and a wonderful achievement. No effort is spared to = find just the perfect registration, no matter what it takes to fit it in. Hearing the Severn Suite was an unforgettable experience. After intermission, two big and bold chorale preludes of Karg-Elert, Werde = munter and Mach hoch die Tur. Then, something called "Some Fun With Wentworth" (1977), subtitled Variations on a bad hymn-tune, by Merrill Kenneth Wolf, who is a professor of Cell Biology at UMass Medical School = in Worcester. Well, we were given, in notes handed out at the door, this very = 'bad hymn-tune," which we sang with all our hearts! We were also given = notes about each of the eight variations. The program finished with Rheinberger Sonata 13, opus 161. When Tom played this work at the OHS Convention in Denver last summer, he asked us to first sing "Come down, O Love Divine" = to the Vaughan Williams tune (Down Ampney), because the opening Phantasie of = the work begins with exactly the notes of the beginning of the hymn tune, the only difference being rhythmic. We did not do that here, but just sat back = and listened to this splendid music, played so very wonderfully. And thus ended the third day, and it was indeed good. Malcolm Wechsler Mander Organs, Ltd. - U. S. A. www.mander-organs.com
(back) Subject: Re: Calliope thread From: Ron Yost <email@example.com> Date: Wed, 30 Jun 1999 22:55:46 -0700 At 10:26 7:24 PM 6/30/99 , you wrote: >This line is just a bunch of hot air! <grin> LOL Speaking of which, let us not forget the many cally-opes (Circus pronounciation)(air operated) that will toot their magic whistles this July 4th. Replica "Tangley's" are still being made in Muscatine, Iowa, btw. (Betting Rick attends Band Organ Rallies??) :-) Ron Yost
(back) Subject: Small Organs From: "Dennis Goward" <firstname.lastname@example.org> Date: Wed, 30 Jun 1999 22:55:38 -0700 While I was in Denver, I had the opportunity to play a Kimball Petitite = Pipe Organ. It had two whole ranks of pipes -- a rank of flutes and a rank of string diapason. The pedal bass, labeled "Bourdon 16" was actually an offset of 12 fat short resonator vox humana pipes. The organ spec = included an "oboe" synthisized from an 8 and a twelfth Violin Diapason I think. No combo, but it did have a register crescendo and swell pedal. It came = out of a funeral home, but was now installed in the third floor space of the home of Hal Haney in Denver. I had a good time on the organ. It was interesting to see what you could get from a small organ like that. Anybody else have any experiences on that particular type of organ? I get the idea it was a "boilerplate" model. Dennis Goward Personal: http://members.xoom.com/dgoward/ Business: http://www.desertsounds.com http://www.desertsoft.net
(back) Subject: Re: =?utf-7?Q?RE=3A_4th_of_July?= From: email@example.com Date: Wed, 30 Jun 1999 23:32:53 -0700 On Wed, 30 Jun 1999 18:55:33 -0500 Tim Bovard <firstname.lastname@example.org> writes: > Hello, Chatters -- > > Pardon me for having to ask, but could ANYONE else decipher this > mass of > gibberish ?? (somebody's cat on the keyboard???) Possibly. But more likely is the writer used a word-processing program to prepare the message. Or their e-mail program uses HTML (Hyper-Text Markup Language) for message preparation. E-mail should generally be prepared in plain-text format, since not all of us use Internet-based e-mail. The nifty logos at the end of some messages (organ pipes, etc.) also don't transmit well; they reach me spread out all over the place. Shalom, Preston Wilson email@example.com > > Just curious... > > TMB ___________________________________________________________________ Get the Internet just the way you want it. Free software, free e-mail, and free Internet access for a month! Try Juno Web: http://dl.www.juno.com/dynoget/tagj.