PipeChat Digest #857 - Friday, May 14, 1999
 
Oops! Re: Recital early notice:  Ian Tracey (Liverpool) at  Sheffield
  by "Cheryl C Hart" <info@copemanhart.co.uk>
dual postings and tremulants
  by "Bud/burgie" <budchris@earthlink.net>
Fw: dual postings and tremulants
  by "VEAGUE" <dutchorgan@svs.net>
Re: playing an old Casavant..
  by <Cpmnhartus@aol.com>
Re: playing an old Casavant..
  by <flcg1018@mails.fju.edu.tw>
Casavant's sheeeesh...........
  by "Daryl Robinson" <darylrobinson@hotmail.com>
Re: HORRIBLE MISTAKE
  by <DRAWKNOB@aol.com>
wedding tomorrow...
  by "Carlo Pietroniro" <concert_organist@hotmail.com>
[musiclassical] Almanac (fwd)
  by "R A Campbell" <rcampbel@U.Arizona.EDU>
Expression Pedals
  by "Jason McGuire" <jason@johannus-norcal.com>
RE: It Works!  It Plays!
  by "Elders, Craig" <c.elders@tcu.edu>
I'm sorry!
  by "Elders, Craig" <c.elders@tcu.edu>
expression pedals....
  by "Carlo Pietroniro" <concert_organist@hotmail.com>
Re: expression pedals....
  by "Jason McGuire" <jason@johannus-norcal.com>
choir/great transfer....
  by "Carlo Pietroniro" <concert_organist@hotmail.com>
Re: expression pedals....
  by "Jason McGuire" <jason@johannus-norcal.com>
Re: choir/great transfer....
  by "Rod Murrow" <murrows@pldi.net>
Re: choir/great transfer....
  by "Jason McGuire" <jason@johannus-norcal.com>
Re: crazy requests....
  by "Rev. Ed" <edwardorgan@hotmail.com>
Re: Fw: crazy requests....
  by "Rev. Ed" <edwardorgan@hotmail.com>
Re: Mutations and Tierces en Taille
  by "HORTON ROBERT CARL" <gemshorn@falcon.cc.ukans.edu>
Re: It Works!  It Plays!
  by "Richard Pinel" <rpinelchat@musicman123.freeserve.co.uk>
Re: Aesthetics
  by <MWORGLBAU@aol.com>
Re: aesthetics and the padded nave
  by <MWORGLBAU@aol.com>
an interview with Maurice Durufl .....
  by "Carlo Pietroniro" <concert_organist@hotmail.com>
 


(back) Subject: Oops! Re: Recital early notice: Ian Tracey (Liverpool) at Sheffield From: Cheryl C Hart <info@copemanhart.co.uk> Date: Fri, 14 May 1999 11:26:40 +0100   :-D   Greetings Tom, and fellow listers.   Things are expensive in England - but fortunately not that expensive! I knew, right after I had sent the message, that I should have typed GBP 6.00 and GBP 3.00 as I normally do (too many senior moments to remember the ASCII combination, and I don't have it in writing). Sorry.   Cheryl   PS If anyone has checked our web site in the last few days, please forgive the errors on the installation page - someone's guts are going to be garters as soon as I can get my hands on him. :-(       http://www.copemanhart.co.uk Email: info@copemanhart.co.uk  
(back) Subject: dual postings and tremulants From: Bud/burgie <budchris@earthlink.net> Date: Thu, 13 May 1999 18:02:12 -0700   I don't know quite what to do about dual postings, since everybody DOESN'T belong to both lists, and my poor superannuated brain can't remember half the time who posted what where, so I don't know where to respond. Any CONSTRUCTIVE suggestions (be NICE, now!) would be appreciated.   Tremulants: I'm VERY fond of the old Austin reed-organ-style fan tremulants ... they were silent, they were gentle, they didn't shake the organ-loft, and they stopped and started fast enough for most purposes. I used to play a Schanzt (1959) that had an electric motor with a flywheel; an off-kilter arm was attached to it; the arm was in turn attached to the reservoir, so that it shook the reservoir when the wheel turned ... that was how they produced their tremulant, and it DID shake the whole balcony, as well as the reservoir. Ditto the pneumatic "beater" tremulant in an 1890 Koehnken & Grimm that we restored in Cincinnati.   It may not be historical, but I don't wanna HEAR or FEEL the MECHANICAl operation of the tremulant, just the musical EFFECT. I suppose the effect of the fan tremulant isn't historical either, because the tremulant WAS supposed to shake the wind supply. Oh well (grin) ...   Cheers,   Bud    
(back) Subject: Fw: dual postings and tremulants From: "VEAGUE" <dutchorgan@svs.net> Date: Fri, 14 May 1999 07:28:19 -0500   I've seen , felt and heard trems that sounded like the plumbing pipes inside the walls knocking furiously. In most cases, they were not fastened down securely, or the weights on the top were bouncing and chattering.   Rick     -----Original Message----- From: Bud/burgie <budchris@earthlink.net> To: organchat <organchat@onelist.com>; pipechat <pipechat@pipechat.org> Date: Friday, May 14, 1999 6:08 AM Subject: dual postings and tremulants     >I don't know quite what to do about dual postings, since everybody >DOESN'T belong to both lists, and my poor superannuated brain can't >remember half the time who posted what where, so I don't know where to >respond. Any CONSTRUCTIVE suggestions (be NICE, now!) would be >appreciated. > >Tremulants: I'm VERY fond of the old Austin reed-organ-style fan >tremulants ... they were silent, they were gentle, they didn't shake the >organ-loft, and they stopped and started fast enough for most purposes. >I used to play a Schanzt (1959) that had an electric motor with a >flywheel; an off-kilter arm was attached to it; the arm was in turn >attached to the reservoir, so that it shook the reservoir when the wheel >turned ... that was how they produced their tremulant, and it DID shake >the whole balcony, as well as the reservoir. Ditto the pneumatic >"beater" tremulant in an 1890 Koehnken & Grimm that we restored in >Cincinnati. > >It may not be historical, but I don't wanna HEAR or FEEL the MECHANICAl >operation of the tremulant, just the musical EFFECT. I suppose the >effect of the fan tremulant isn't historical either, because the >tremulant WAS supposed to shake the wind supply. Oh well (grin) ... > >Cheers, > >Bud > > >"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: playing an old Casavant.. From: Cpmnhartus@aol.com Date: Fri, 14 May 1999 10:35:24 EDT   Copeman Hart - America Oak Ridge, Tennessee 14th May 1999   Dear Carlo and List:   There is another superb two manual Casavant with a similar, but slightly larger stoplist, in Notre Dame Church, Pittsfield, Massachusetts. Built c. 1894, it has a responsive tracker action even though the organ is divided on both sides of the gallery. The keydesk is built into the Swell case and the action to the Great and Pedal goes under the floor. Each stop sings as it embraces every corner of the church in a delightfully sympathetic acoustical environment. The ensemble is splendid and the instrument supports much of the organ literature in a most musical manner.   George   George W. Bayley Senior U. S. Sales Consultant Copeman Hart - America 107 East Pasadena Road Oak Ridge, Tennessee 37830-5112   Tel. & Fax. 423 482 8600 Toll Free. 1 800 773 4858   Copeman Hart & Company LTD Church Organ Builders Irthlingborough, Northamptonshire NN9 5TZ England   http://www.copemanhart.co.uk   Copeman Hart - Australia E-mail hamilton.stives@bigpond.com (Peter Hamilton)  
(back) Subject: Re: playing an old Casavant.. From: flcg1018@mails.fju.edu.tw Date: Fri, 14 May 1999 22:56:52 +0800 (CST)   Mr. Bayley,   Would you be good enough to post the stoplist to the list, or let us know where we may find the stoplist?   At least one inquiring mind would be most pleased to peruse the stoplist of this interesting instrument...   Best wishes to all...     Morton Belcher fellow pipechat list member....     On Fri, 14 May 1999 Cpmnhartus@aol.com wrote:   > Copeman Hart - America > Oak Ridge, Tennessee > 14th May 1999 > > Dear Carlo and List: > > There is another superb two manual Casavant with a similar, but slightly > larger stoplist, in Notre Dame Church, Pittsfield, Massachusetts. Built c. > 1894, it has a responsive tracker action even though the organ is divided on > both sides of the gallery. The keydesk is built into the Swell case and the > action to the Great and Pedal goes under the floor. Each stop sings as it > embraces every corner of the church in a delightfully sympathetic acoustical > environment. The ensemble is splendid and the instrument supports much of the > organ literature in a most musical manner. > > George > > George W. Bayley > Senior U. S. Sales Consultant > Copeman Hart - America > 107 East Pasadena Road > Oak Ridge, Tennessee 37830-5112 > > Tel. & Fax. 423 482 8600 > Toll Free. 1 800 773 4858 > > Copeman Hart & Company LTD > Church Organ Builders > Irthlingborough, Northamptonshire NN9 5TZ > England > > http://www.copemanhart.co.uk > > Copeman Hart - Australia > E-mail hamilton.stives@bigpond.com (Peter Hamilton) > > "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: Casavant's sheeeesh........... From: "Daryl Robinson" <darylrobinson@hotmail.com> Date: Fri, 14 May 1999 08:08:14 PDT   Casavants claim to be a close relative of the old French organs but them why are there reeds to puny? They are so smooth and connected like a Schantz thats been around to long. There en Chamades are HORRIBLE (Schantz's especially). Our church has a Casavant that we are enlaring to 120 ranks but we are using Ruffatti for all of the reeds and to revoice the reeds that are already there. I think this will truely be a great organ!   Daryl       _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com  
(back) Subject: Re: HORRIBLE MISTAKE From: DRAWKNOB@aol.com Date: Fri, 14 May 1999 11:19:52 EDT   In a message dated 5/13/99 10:19:44 PM Central Daylight Time, ray_ahrens@hotmail.com writes:   << Would this be the DRAWKNOB with the damp popo? >>   Please remove me from this sorry list.   DRAWKNOB@aol.com  
(back) Subject: wedding tomorrow... From: "Carlo Pietroniro" <concert_organist@hotmail.com> Date: Fri, 14 May 1999 11:32:10 EDT   Good morning,   remember the bride that wanted the t & f in d minor played at the signing of the register? Well, she changed her mind. Now she wanted the Fantasie and Fugue in B flat by Boely. Fine by me. That piece fits the "hands crossing on the same manual" thread that I started a few weeks ago. I forgot all about it. The priest doesn't mind concert-type pieces at the wedding, but not the t & f in d minor. It's going to be a very simple wedding with no mass.   Water Music by Handel (as the guests are being seated) Processional: Trumpet Tune by Fred Swann Les Cloches de Hinckley by Vierne (after the Gospel) Fantasie & Fugue in Bb by Boely (signing of register) Recessional: Finale from Symphony No 3 by Vierne   .....looks more like a concert, but if they pay the piper, they get to call the shots...hehe.   Carlo     ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com  
(back) Subject: [musiclassical] Almanac (fwd) From: R A Campbell <rcampbel@U.Arizona.EDU> Date: Fri, 14 May 1999 08:45:54 -0700 (MST)   They have added the weekend and monday, bless 'em From: AcoustiCDigest editors <acoustic_digest@yahoo.com>   Classical Music Almanacs for:   Friday May 14th http://www.angelfire.com/biz3/alm/14may.html   Saturday May 15th http://www.angelfire.com/biz3/alm/15may.html   Sunday May 16th http://www.angelfire.com/biz3/alm/16may.html   Monday May 17th http://www.angelfire.com/biz3/alm/17may.html   Have a nice weekend! === We promote Classical and New Age Music.   AcoustiCDigest/Radio Prod. P.O.Box 16221 Tucson AZ 85732 NEWAGE, Acoustic & Classical Music Directories http://AcoustiCD.com CD sales at http://mycdstore.com _________________________________________________________ Do You Yahoo!? Free instant messaging and more at http://messenger.yahoo.com   ------------------------------------------------------------------------ ONElist: where the world talks! http://www.onelist.com Join a new list today. ------------------------------------------------------------------------ compact disc discounts comparison shopping at:http://mycdstore.com and visit the Internet Classical Music Directory index at http://acousticd.com    
(back) Subject: Expression Pedals From: "Jason McGuire" <jason@johannus-norcal.com> Date: Fri, 14 May 1999 10:56:24 -0700   Hi all,   I am trying to get clarity on the placement of expression pedals when there are more than two. Usually, it's Choir, Swell, then Crescendo (left to right). When there is a Solo division under expression, does that pedal go left of the Choir expression pedal or right of the Swell? I know that the Swell expression pedal is always in the same place in relation to the pedals. Also, is the layout an AGO guideline or something that is up to individual builders? Thanks for your help.   Cheers, Jason ----------------------------------------------------- Pray for peace, brotherly love and good will towards all!   JOHANNUS of Northern California http://www.johannus-norcal.com  
(back) Subject: RE: It Works! It Plays! From: "Elders, Craig" <c.elders@tcu.edu> Date: Fri, 14 May 1999 13:04:53 -0500   Good TGIF to you and thanks for the kind words.   I will be glad to "put you" on my list when the TV show runs.   Also, good luck with your project. It sure does take a lot of time, space, "stuff", money, and more and more time. But, it is now worth it.....!!   Thanks again and yell if I can ever be of assistance.   Craig   ---------- From: GRSCoLVR@aol.com[SMTP:GRSCoLVR@aol.com] Reply To: PipeChat Sent: Thursday, May 13, 1999 4:25 PM To: pipechat@pipechat.org Subject: Re: It Works! It Plays!   Hi Craig--- Wonderful post! <G> Ahhhh,, the satisfaction of playing your own creation, how nice! Congratulations Craig--- I think you had talked about the TV filming of your organ on this list in the past, do you have any capabilities of transferring the program to VCR tape? If so,, I would definitely like to get on the list for a copy (with appropriate charges of course). I dont have a dish,,nor cable,,,only a stacked Yagi on the roof. <G> Best of luck Craig, with the new "toy" <G> After a long number of years of dreaming for my own in-house pipe organ I am just starting, I hope I will be as successful as you have been! <G> Cheers, ---Roc   "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: I'm sorry! From: "Elders, Craig" <c.elders@tcu.edu> Date: Fri, 14 May 1999 13:11:15 -0500   Please excuse my posting a private reply to the entire list. I keep forgetting about the "return to sender". I apologize. BUT, this gives me a chance to wish all a great weekend.   Craig  
(back) Subject: expression pedals.... From: "Carlo Pietroniro" <concert_organist@hotmail.com> Date: Fri, 14 May 1999 14:15:56 EDT   ....don't they usually go from bottom to top, then the crescendo?   c.p.     ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com  
(back) Subject: Re: expression pedals.... From: "Jason McGuire" <jason@johannus-norcal.com> Date: Fri, 14 May 1999 11:20:37 -0700   On all the 3-manual organs I have seen (US), the choir pedal is to the left of the swell pedal and the expression immediately follows the swell pedal. It it was top to bottom, they would run (L-R) swell, choir, expression. I do know that the AGO layout on a 3-manual is (L-R) Choir, Swell, then expression. It's what happens when there are 3 or more divisions under expression that I'm not sure about. It may be different in Canada, England, Netherlands, etc.   Jason ----------------------------------------------------- Pray for peace, brotherly love and good will towards all!   JOHANNUS of Northern California http://www.johannus-norcal.com   ---------- >From: "Carlo Pietroniro" <concert_organist@hotmail.com> >To: pipechat@pipechat.org >Subject: expression pedals.... >Date: Fri, May 14, 1999, 11:15 AM >   >...don't they usually go from bottom to top, then the crescendo? > >c.p. > > >______________________________________________________ >Get Your Private, Free Email at http://www.hotmail.com > >"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: choir/great transfer.... From: "Carlo Pietroniro" <concert_organist@hotmail.com> Date: Fri, 14 May 1999 14:37:30 EDT   bonjour tous,   hehe (I love french). What pipe organ companies other than Rodgers have the "choir/great transfer"? I love this because it makes playing a lot easier if you're playing a piece that stays on the same manual. Also, what other companies have the "all swells to swell" piston? I know Rodgers has it and I think Allen has it too. I aslo heard from my Rodgers representative that Baldwin no longer makes church organs. I don't doubt him, but if this is true, when did this happen? Baldwin was doing pretty well....weren't they?   Carlo     ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com  
(back) Subject: Re: expression pedals.... From: "Jason McGuire" <jason@johannus-norcal.com> Date: Fri, 14 May 1999 11:48:29 -0700     >On all the 3-manual organs I have seen (US), the choir pedal is to the left >of the swell pedal and the expression immediately follows the swell pedal.     OOPS, my typo ... I meant the CRESCENDO follows the Swell expression pedal. Sorry.   Jason ----------------------------------------------------- Pray for peace, brotherly love and good will towards all!   JOHANNUS of Northern California http://www.johannus-norcal.com      
(back) Subject: Re: choir/great transfer.... From: Rod Murrow <murrows@pldi.net> Date: Fri, 14 May 1999 13:55:40 -0500   I believe what is left of Baldwin organs is now offered through Church Organ Systems (does anyone know if this is an accurate statement?).The left-over stock of Baldwin organs is being sold by different dealers - then that's it. Wonder what they'll do for service? I was considering getting one of their organs from about 1991 - but hesitate to do so because of the problem with service. I've played many different Baldwins in recent years and was fairly pleased with the sound and the response of the instrument.   Rod Murrow   Carlo Pietroniro wrote:   > I aslo heard from my Rodgers representative that Baldwin no longer makes > church organs. I don't doubt him, but if this is true, when did this happen? > Baldwin was doing > pretty well....weren't they?    
(back) Subject: Re: choir/great transfer.... From: "Jason McGuire" <jason@johannus-norcal.com> Date: Fri, 14 May 1999 11:50:17 -0700   Johannus offers the "all swells to swell" either as a piston or as a tab. If it is on a tab it can be activated by the combination action. I am relatively certain that we also offer the Great/Choir transfer. Both of these are options at very reasonable extra cost. I have the "All Swells" tab on my Rembrandt 3000.   Jason ----------------------------------------------------- Pray for peace, brotherly love and good will towards all!   JOHANNUS of Northern California http://www.johannus-norcal.com   ---------- >From: "Carlo Pietroniro" <concert_organist@hotmail.com> >To: organchat@onelist.com, pipechat@pipechat.org >Subject: choir/great transfer.... >Date: Fri, May 14, 1999, 11:37 AM >   >bonjour tous, > > hehe (I love french). What pipe organ companies other >than Rodgers have the "choir/great transfer"? I love this because it makes >playing a lot easier if you're playing a piece that stays on the same >manual. Also, what other companies have the "all swells to swell" piston? I >know Rodgers has it and I think Allen has it too. I aslo heard from my >Rodgers representative that Baldwin no longer makes church organs. I don't >doubt him, but if this is true, when did this happen? Baldwin was doing >pretty well....weren't they? > >Carlo > > >______________________________________________________ >Get Your Private, Free Email at http://www.hotmail.com > >"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: crazy requests.... From: "Rev. Ed" <edwardorgan@hotmail.com> Date: Fri, 14 May 1999 12:04:40 PDT       Last month a bride wanted the >Hallelujah Chorus (handel) for the recessional. I fortunately talked her >out >of that one!     Well...Weddings should be a celebration! I think that a "rowsing" Hallelujah Chorus would be rather up-lifting; especially on the "King of Instruments"!   My pet peave is: If it's in the church, keep it HOLY.   Rev E.D.     _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com  
(back) Subject: Re: Fw: crazy requests.... From: "Rev. Ed" <edwardorgan@hotmail.com> Date: Fri, 14 May 1999 12:07:06 PDT       >I thought the Hallelujah Chorus was reserved for the honeymoon night ?? !!!     Only if the right "Stops" are pulled ;}     _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com  
(back) Subject: Re: Mutations and Tierces en Taille From: HORTON ROBERT CARL <gemshorn@falcon.cc.ukans.edu> Date: Fri, 14 May 1999 14:48:33 -0500 (CDT)   Yes, ....I'm sticking to my guns in this argument that mutations are primarily a decoration. To answer one Pipechatter's concerns about movements such as the French Tierce en Taille, I'll respond with a question of my own. Consider the Tierce en Taille movement from the Grigny Messe--one of the greatest in all the repertoire. What is it that makes this music so beautiful? Is it the bizarre and funky overtones of the solo voice, or is it the composer's sense of arch, line, and harmony? I say the latter. OK, I'm really gonna catch it for this one...I think this movement, and others in the baroque repertoire as well, are NOT dependent upon mutations for performance. They would be just as moving on a Skinner English Horn...definitely not what the composer intended, but beautiful nonetheless. The only example of repertoire that I can imagine which is absolutely dependent on mutations for its effect is the music of Messiaen. In Olly's case, his music needs the color of mutations (often without foundation) in order to work...or whatever it is that Messiaen is supposed to do.   Rob    
(back) Subject: Re: It Works! It Plays! From: "Richard Pinel" <rpinelchat@musicman123.freeserve.co.uk> Date: Thu, 13 May 1999 20:30:28 +0100   Well done!    
(back) Subject: Re: Aesthetics From: MWORGLBAU@aol.com Date: Fri, 14 May 1999 16:45:29 EDT   Dear Bruce and list,   "If there are no supporting walls, the chamber fronts should be removed leaving a loft for the organ, allowing it to speak directly into the room and to be laid out using traditional methods."   2 problems here. First off the church is somewhat historical. Making a change like what you suggest would take an act of God. Second the wall is structural.   "The organ does not necessarily have to be in front. However, if there is room for a console, there is room for the footprint of a case; the organ could then be installed in a proper case; or ever installed in a case which backed-up to the loft, expanding the available room."   Again several problems. If you put a free standing case where the console is going, you would totally block the view of the baptismal tank, and you can imagine just how well that would go over! Secondly the choir sits in a horseshoe configuration around the console. A free standing case would eliminate a lot of the seating in the choir loft (who would want to sit behind the case and sing into the back of it?). Lastly, remember this is a scream and shout church (I've heard one of their adult choir practicing, and they get up and move!), and a small organ in a free standing case would not serve the purposes of this particular congregations musical needs. If it wasn't for the classical musical (both organ and vocal), a theatre organ would have been an option.   "My recommendation would be to get a pipe organ to handle classical music and hymnody, and then to purchase appropriate synthesizer, keyboards etc. to hand the "screaming" literature. It is unfair to expect a respectable pipe organ (or even an un-respectable one) to do everything. They would be better off with instruments appropriate to the music their doing."   Again a couple of problems. The organist/director (one in the same) wants to do everything from one keyboard source. The church presently has a Hammond as well (C-3 I believe), and has to keep going back and forth between the 2 instruments during the service. Having a pipe organ, for the classical music and hymns, and the MIDI to play a connected synthesizer for the Hammond sounds is, I believe, the correct solution.   "What is the present organ? spec..."   I'll post it later for you Bruce.     Michael R. Williamson Williamson-Warne & Associates Hollywood Ca.  
(back) Subject: Re: aesthetics and the padded nave From: MWORGLBAU@aol.com Date: Fri, 14 May 1999 16:45:27 EDT   Dear Bud and list,   "From what Michael's describing, it sounds like this church is a prime candidate for a large digital organ (never thought you'd hear ME say that, did you??!!)."   Under some circumstances, I probably would agree. But this church in particular already has a pipe organ (though too small and in not the greatest condition), and the church likes their pipe organ, and is proud that they have a pipe organ.   "NO legitimate pipe organ could encompass that large a range of music (stomp and shout to classical)"   I think that it would be possible combining a pipe organ with MIDI. Therefore they can have the best of both worlds.   "And when it isn't able to, the organbuilder will get blamed (of course)."   Actually, I think (and know that I'm being presumptuous) that I can "pull it off" combining a pipe organ with MIDI. I'll let you know how it works.     Michael R. Williamson Williamson-Warne & Associates Hollywood Ca.  
(back) Subject: an interview with Maurice Duruflé..... From: "Carlo Pietroniro" <concert_organist@hotmail.com> Date: Fri, 14 May 1999 17:19:01 EDT   hello all,   I apologize for those who are on both lists, but there are some people who aren't, and it's for those people that I'm posting on both.   I just finished reading an interview with Maurice Duruflé that was done in 1978. He was talking about his Suite Op.5. You'll never guess what he said about the Toccata, which is the last part of the suite. He said he didn't like it.....his own composition and he doesn't like it. Can you imagine that? He went on to say that when he did compose it, he liked the theme, but after looking at it time after time, he decided that it wasn't one of his best works. To quote him "....the theme sets the mood of the toccata, and if you don't like the theme, you won't like the toccata.....". At which point his wife (Marie-Madeleine Duruflé-Chevalier) stepped in and said that she like the 'sauce', then Maurice said that the 'sauce' might be good, but the 'beefsteak' isn't. I found that so funny. Even famous composers can joke about their own compositions.   Carlo     ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com