PipeChat Digest #856 - Friday, May 14, 1999 Fw: Springfield Steere Specification by "VEAGUE" <email@example.com> Re: mutations....where are you??? by "ray ahrens" <firstname.lastname@example.org> Re: It Works! It Plays! by "N Brown" <Innkawgneeto@webtv.net> organs of the '20s and '30s by "Bud/burgie" <email@example.com> Re: Recital early notice: Ian Tracey (Liverpool) at Sheffield by "Tom Baldwin" <firstname.lastname@example.org>
(back) Subject: Fw: Springfield Steere Specification From: "VEAGUE" <email@example.com> Date: Thu, 13 May 1999 22:55:44 -0500 Nice stoplist... Looks a little theatrical.............. -----Original Message----- From: David McPeak <Mack> <firstname.lastname@example.org> To: PipeChat <email@example.com>; PIPORG-L@LISTSERV.ALBANY.EDU <PIPORG-L@LISTSERV.ALBANY.EDU> Date: Thursday, May 13, 1999 10:29 PM Subject: Springfield Steere Specification >The following specification was supplied to me by Keith Biger, curator >of the Baptist Temple Steere in Brooklyn. The organ is still in storage >in the City Hall Annex basement and is in good condition, although when >the hall was renovated they removed the chambers and cannot reinstall >the organ in the hall. The City will not sell it either. > >SYMPHONY HALL, SPRINGFIELD, MASSACHUSETTS >J.W. STEERE & SON ORGAN COMPANY, SPRINGFIELD, MASSACHUSETTS >OPUS 673 1915 > >GREAT ORGAN (unenclosed) >16' Diapason >8' First Diapason >8' Second Diapason >8' Gross Flute >8' Clarabella >8' Gamba >8' Gemshorn >4' Octave >4' Flute >2' Fifteenth >III Mixture >8' Trumpet >16' Ophicleide (Solo) >8' Tuba (Solo) >4' Clarion (Solo) >Chimes (Swell) > >SWELL ORGAN (enclosed) >16' Bourdon >8' First Diapason >8' Second Diapason >8' Hohlflute >8' Salicional >8' Viol D' Orchestre >8' Voix Celeste >8' Gedackt >8' Aeoline >8' Vox Angelica >4' Octave >4' Flute Harmonique >4' Salicet >2' Flautino >III Solo Mixture >16' Posaune >8' Oboe >8' Cornopean >8' Vox Humana >4' Clarion >Tremolo >Chimes > >CHOIR ORGAN (enclosed with solo) >16' Gamba >8' Diapason >8' Dulciana >8' Concert Flute >8' Quintadena >4' Flute D' Amour >2' Piccolo >16' Fagotto >8' Clarinet >8' French Horn (Solo) >8' Orchestral Oboe (Solo) >Tremolo >Celesta > >SOLO ORGAN (enclosed) >8' Stentorphone >8' Gross Gamba >8' Gamba Celeste >8' Philomela >8' Concert Flute >4' Doppelflute >16' Fagotto (Choir) >8' Clarinet (Choir) >8' French Horn >8' Orchestral Oboe >16' Ophicleide >8' Tuba >4' Clarion >8' Tuba Mirabilis > >ECHO ORGAN (Prepared) >8' Muted Viol >8' Viol Celeste >8' Fern Flute >4' Flute Traverso >8' Vox Humana >Chimes > >PEDAL ORGAN >64' Gravissima (prepared) >32' Diapason (prepared) >32' Bourdon >16' First Diapason >16' Second Diapason (Great) >16' Violone >16' Bourdon (ext. 32') >16' Gedackt (Swell) >16' Gamba (Choir) >10 2/3' Quint (ext. 32') >8' Octave (Great 16') >8' Flute (ext. 32') >8' Violoncello (ext. Violone) >8' Gedackt (Swell 16') >32' Bombarde (ext. Ohpicleide) >16' Ophicleide >8' Tuba (Solo) >4' Clarion (Solo) > >COUPLERS >Great to Pedal 8' >Great to Pedal 4' >Swell to Great 8' >Swell to Great 16' >Swell to Pedal 8' >Swell to Pedal 4' >Swell to Great 4' >Choir to Pedal 8' >Choir to Pedal 4' >Choir to Great 8' >Choir to Great 16' >Choir to Great 4' >Solo to Pedal 8' >Solo to Pedal 4' >Solo to Great 8' >Solo to Great 16' >Solo to Great 4' >Swell to Choir 16' >Swell to Choir 8' >Swell to Choir 4' >Solo to Choir 8' >Echo to Choir 8' >Echo to Great 8' >Echo to Pedal 8' >Echo on-Choir off >Swell to Swell 16' >Swell to Swell 4' >Swell Unison Off >Choir to Choir 16' >Choir to Choir 4' >Choir Unison Off >Solo to Solo 16' >Solo to Solo 4' >Solo Unison Off >Echo to Echo 16' >Echo to Echo 4' >Echo Unison Off > >I appologize for any typos. > > >"Pipe Up and Be Heard!" >PipeChat: A discussion List for pipe/digital organs & related topics >HOMEPAGE : http://www.pipechat.org >List: mailto:firstname.lastname@example.org >Administration: mailto:email@example.com >Subscribe/Unsubscribe: mailto:firstname.lastname@example.org >
(back) Subject: Re: mutations....where are you??? From: "ray ahrens" <email@example.com> Date: Thu, 13 May 1999 20:56:35 PDT Well well well... No mutations you say? So much of the French baroque rep requires tons of cornets (decompsee and separare)- Widor also calls for cornets. Guess you don't like Handelian voluntaries and the like. Guess that also omits Sesquialtera combos used in Bach works. Perhaps Silbermann and Schnitger didn't know what they were doing? I'm a big fan of 8' fluework (absolutely love Johnson and Son Swell Open Diapasons) but mutations are just as important. Perhaps they do things differently in Kansas, where men are men and sheep are nervous. _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com
(back) Subject: Re: It Works! It Plays! From: Innkawgneeto@webtv.net (N Brown) Date: Thu, 13 May 1999 23:56:48 -0400 (EDT) What an incredible experience you have shared, Craig!! And, I think it is awesome you are getting some media coverage on your project. Enjoy!! Relish!! Savor!! --Neil
(back) Subject: organs of the '20s and '30s From: Bud/burgie <firstname.lastname@example.org> Date: Thu, 13 May 1999 23:17:08 -0700 Whoa here now Jon! Let's not tar the entire era with the same brush. Orchestral VOICES were in vogue, and E.M. Skinner was a genius at building them, but he also knew how to build cohesive choruses. True, he (and other builders) suppressed the upperwork in favor of 8' stops, but listen closely to what those 8' stops DO in a finely-voiced (and UN-tampered-with) Skinner or late Hook and Hastings; or a GOOD Austin, for that matter. For all that we think of Wanamaker's and Atlantic City as monsters and aberrations, the American Classic outline is there, as are the choruses. While it may be now agreed (by most people, anyway) that American Classic was a plateau on the way to the wildly eclectic mix of organs being built today, it had its uses (notably the classic Anglican service .... vide all the Skinners in Episcopal churches and cathedrals). I propose going one step FURTHER back and taking WILLIS as the model for our organ at St. Matthew's. I want to hear "I Was Glad" the way it's SUPPOSED to be played (grin). Cheers, Bud
(back) Subject: Re: Recital early notice: Ian Tracey (Liverpool) at Sheffield From: Tom Baldwin <email@example.com> Date: Fri, 14 May 1999 10:07:01 +0200 Cheryl C Hart tells us: >Admission at the door: =A36.00 (concessions =A33.50) Cheryl, Is that 36 pounds Sterling???!!!