PipeChat Digest #1606 - Thursday, October 5, 2000
 
Fwd: Loren Whitney
  by "Administrator" <admin@pipechat.org>
Pipes Spectacular! Message in the Music
  by "Stewart Strategies Group" <art@stewartgrp.com>
Re: Music gathering dust in library
  by <Robert_Lind@cch.com>
Interested Essay Question
  by "Rebekah Ingram" <rringram@syr.edu>
Re: Interested Essay Question
  by <OrganMD@aol.com>
Re: Interested Essay Question
  by "VEAGUE" <dutchorgan@svs.net>
Re: Interested Essay Question
  by <DudelK@aol.com>
Re: Interested Essay Question
  by "Rebekah Ingram" <rringram@syr.edu>
Re: Interested Essay Question
  by <Cremona502@cs.com>
Re: Music gathering dust in library
  by <Innkawgneeto@webtv.net>
St. Patrick's Basilica (Montreal)
  by "Carlo Pietroniro" <concert_organist@hotmail.com>
Re: Interested Essay Question
  by <RonSeverin@aol.com>
Elgar Organ Sonata
  by "Chris Johns" <Chris_Johns@gmx.de>
 


(back) Subject: Fwd: Loren Whitney From: "Administrator" <admin@pipechat.org> Date: Wed, 4 Oct 2000 06:15:45 -0500   The following was received at the Administration address. Since the person is not on the list please make sure any responses are sent to him at the address below.   David ******************************************************** >From: radiotrician@webtv.net (Gary McGlothlen) >Date: Wed, 4 Oct 2000 04:04:55 -0500 (CDT) >To: admin@pipechat.org >Subject: Loren Whitney > >Can you supply any information (or links) about Loren Whitney, organist? >He is featured oranist on a radio program "The Quiet Time" but I >suspect the recordings are quite old. > >Thanks in advance.   -- **************************************** David Scribner Owner / Co-Administrator PipeChat   http://www.pipechat.org mailto:admin@pipechat.org  
(back) Subject: Pipes Spectacular! Message in the Music From: "Stewart Strategies Group" <art@stewartgrp.com> Date: Wed, 04 Oct 2000 08:32:36 -0400   PIPES SPECTACULAR! EVENTS WILL UNDERSCORE CONTRIBUTION OF MUSIC EDUCATION = TO THE DEVELOPMENT OF YOUNG PEOPLE   Nationwide Celebration of the Organ Will Have a Critical Message in the = Music   Four 'Celebrity Advocates' Endorse AGO Emphasis on Youth     (September 29, 2000 -- New York, NY) PIPES SPECTACULAR! -- The World's = Largest Organ Concert -- will involve over 200 concert events across the = country on Sunday, October 15th, and reach a potential family audience of = 100,000 nationwide to underscore the contribution of music education to = the development of young people.   A unique celebration of the organ in America, PIPES SPECTACULAR! is = designed to increase appreciation for the enduring majesty of the organ -- = the "King of Instruments" -- and send a critical message that music can = play an important role in the overall health and development of children = and youth.   "PIPES SPECTACULAR! is one of the most innovative and exciting public = awareness programs I have seen," declares Frances Rauscher, Ph.D., of the = University of Wisconsin, Oshkosh and a widely respected authority on the = effects of music on the brain. Rauscher focuses on the relationship of = music cognition to other domains of intelligence -- teaching courses in = infant and child development, human development and social psychology.   "By increasing people's understanding of the pipe organ and educating = young people about the instrument and its literature, the program = emphasizes that music education is a birthright," adds Rauscher. = "Research suggests that playing a keyboard instrument may improve = children's reasoning in areas not directly related to music - in = particular their ability to reason abstractly. PIPES SPECTACULAR! = highlights the special contribution of the organ to cognitive and = emotional development."   Dr. Rauscher is one of four 'Celebrity Advocates' who are extending their = support to the American Guild of Organists (AGO) by endorsing the PIPES = SPECTACULAR! project, its emphasis on young people, and the AGO's outreach = programs to youth and the next generation of musicians. The other = advocates are Andreas Delfs, Music Director of the Milwaukee Symphony = Orchestra -- one of the world's leading young conductors and a champion of = the organ as a symphonic concert instrument; distinguished American = actress Jane Alexander -- a former Chairman of the National Endowment for = the Arts and an outspoken advocate for the arts in American culture; and = Don Campbell, celebrated teacher, performer and writer -- whose critically = acclaimed books The Mozart Effect and The Mozart Effect(r) for Children = are comprehensive blueprints for sparking creativity and intellectual = potential in adults and children.   "PIPES SPECTACULAR! will lead us to a well-tuned brain, through spirited = performances and high yield joy," notes Campbell. "The organ provides = sound nutrition for body, heart and soul. The AGO is bringing the powers = of sound into a new century of innovative potential for the King of = Instruments."     AGO OUTREACH PROGRAMS TO THE NEXT GENERATION The AGO has developed a number of highly successful programs that are = effectively reaching out to local communities nationwide as an investment = in the development of future generations and their musicians. Pipe Organ = Encounters, or POE, is an introduction to the pipe organ for teenagers and = young adults. These 'encounters', produced over 4-5 days on a regional = basis, provide private and group instruction in the basic rudiments; give = a general overview of organ history; expose the students to organ = construction; and enable young musicians to meet others with similar = interests. POE+ is a practicum for late bloomer adults, many of whom are = pianists with little formal training. This program is particularly = helpful to individuals in professional situations who have been pressed = into service as church organists without the formal rigors of a degree = program.   The AGO has successfully brought the organ to the classroom with PipeWorks = -- a two-week interdisciplinary program of classroom instruction designed = to teach upper elementary school students about the world of the pipe organ. = PipeWorks integrates science, music and social studies using teams of = organists and teachers providing highly creative music instruction that = fits into the students' core curricula. Another initiative -- Pedals, = Pipes and Pizzas -- is a one-day introduction to the organ which includes = pizza for lunch.     PIPES SPECTACULAR! EVENTS GEARED TO YOUNG PEOPLE Among the diverse range of concert events in the PIPES SPECTACULAR! = schedule will be programs geared to young people and featuring young = performers. The organ will be heard with dance companies, brass and other = instrumental ensembles, acclaimed choral groups and vocal soloists, even = marching bands. Programs will feature "informances," organ "crawls," = multimedia presentations, and entertaining audiovisual enhancements.   - - - - - - - - - -   The American Guild of Organists (www.agohq.org) is the national = professional association serving the organ and choral music fields, and is = the largest membership organization in the country dedicated to a single = instrument. Founded in 1896 as an educational and service organization, = the AGO seeks to set and maintain high musical standards and to promote = understanding and appreciation of all aspects of organ and choral music. = The AGO serves over 21,000 members in 343 chapters throughout the United = States and in Europe: organists and other keyboard players, choir and = music directors, conductors, composers, music educators, builders, = artisans and music aficionados engaged in the multi-dimensional world of = the pipe organ.   PIPES SPECTACULAR! is sponsored in part by the American Bible Society = (www.americanbible.org), an organization whose purpose is to provide the = Holy Scriptures to every man, woman and child in a language and form each = can readily understand, and at a price each can easily afford. This = purpose, undertaken without doctrinal note or comment, and without profit, = is a cause which all Christians and all churches are urged to support.   # # # #......  
(back) Subject: Re: Music gathering dust in library From: <Robert_Lind@cch.com> Date: Wed, 4 Oct 2000 15:43:22 -0500   I'm happy that my experience is different from yours. I learned a lot of repertory in my late teens and early twenties. Then the Vietnam crunch = caught up with me and I was an Army bandsman for three years. During that time I = lamented that organ repertory was mainly pretty dismal and lacking in quality, = there weren't many really good church jobs, maybe my wife and I should stay in = Europe rather than returning to America.   But, after Vietnam we went into the corporate world; I put church music on = the back burner, and mostly repeated organ works I already knew. In 1978 I was director of music at a church that received money for an organ. I had to = figure out what was going on in the world of fine organbuilding, and I settled on = a Wilhelm.   The arrival of the Wilhelm in 1979 got me composing for the organ and = exploring repertory like mad. I now had sufficient money so that I could buy massive quantities of organ music and accumulate 3,000 LPs (mostly 20th-century orchestral music). This is something impecunious college students and a = great many church musicians can't afford to do, but I also worry that all too = many of my colleagues show little interest in getting involved in the literature = and expanding their libraries. Anyway, by 1980, I was learning at least 100 = new works a year, many of them quite difficult.   Here we are 20 years later. I'm still investigating worthwhile literature = that has eluded me thus far, still learning at least a hundred new works each = year, while people younger than I are "retired", selling their libraries even = though they still practice and play on a pretty regular basis, and some haven't = bought an organ work in years.   Perhaps having a full-time job and treating music as a strong avocation = has saved me from deep depression, burnout, and a lack of interest in my = field's output. I've probably spent a good $1,500 on organ music so far this = year--much of it second hand--keeping two American vendors looking for = difficult-to-locate works, buying from lists in the U.S. and abroad, and having a jolly good = time. I do regret that I find very little time to compose.   Okay, I'll still admit that organ literature as a body can't hold a candle = to that of the piano or the violin, but I surely was in no position to say = that with any authority 35 years ago. I'm happy to report that my discoveries = over the years have been sufficient to keep me going, looking, and learning--sometimes passionately. By the end of this week I may have as = many as four more packages awaiting me at my church, one from as far away as = Australia (how much Australian organ music do we Americans know?). Soon to come will = be music from Estonia, Finland, Canada, you name it.   Where were we? I guess I'd sum up by saying that this game can and should = be a process of lifelong learning. If you decide to recycle the top 50 or 100 = pieces in your grasp for the rest of your life, God help you. And the people who = have to listen to you, poor things.   I'm a little low on things from Romania and Poland. Anyone have some suggestions?   Regards,   Bob   Robert_Lind@cch.com             To all you listers who are currently studying organ in school, learn all the music you can NOW. You will have little time to learn it once you're in the throes of a church music program. At least, that has been my experience.   Peace to you all. Neil                  
(back) Subject: Interested Essay Question From: "Rebekah Ingram" <rringram@syr.edu> Date: Wed, 4 Oct 2000 18:39:11 -0400   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0014_01C02E32.635F3400 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   My application for Westminster requires the following:   "Type an essay of at least 500 words on an issue that you believe should = =3D be of concern to an individual in your field of study."   Two things came to mind. The first is recruiting organists for the next = =3D generation. The second is the future of the organ within the church. I =3D thought the second might be a tad bit touchy for admission to the Sacred = =3D Music program.   Any other ideas or comments?   This is worse than applying to college!   -Rebekah   ------=3D_NextPart_000_0014_01C02E32.635F3400 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META content=3D3D"text/html; charset=3D3Diso-8859-1" =3D http-equiv=3D3DContent-Type> <META content=3D3D"MSHTML 5.00.2314.1000" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT size=3D3D2>My application for Westminster requires the=3D20 following:</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT size=3D3D2>"Type an essay of at least 500 words on an issue =3D that you=3D20 believe should be of concern to an individual in your field of=3D20 study."</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT size=3D3D2>Two things came to mind. The first is recruiting =3D organists for=3D20 the next generation. The second is the future of the organ within the =3D church. I=3D20 thought the second might be a tad bit touchy for admission to the Sacred = =3D Music=3D20 program.</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT size=3D3D2>Any other ideas or comments?</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT size=3D3D2>This is worse than applying to college!</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT size=3D3D2>-Rebekah</FONT></DIV></BODY></HTML>   ------=3D_NextPart_000_0014_01C02E32.635F3400--    
(back) Subject: Re: Interested Essay Question From: <OrganMD@aol.com> Date: Wed, 4 Oct 2000 18:57:55 EDT   Rebekah:   It may be a sensative issue, but I think that a very real issue!  
(back) Subject: Re: Interested Essay Question From: "VEAGUE" <dutchorgan@svs.net> Date: Wed, 4 Oct 2000 18:12:17 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_000E_01C02E2E.A132ACC0 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   Rebekah- You have an excellent opportunity here. If *I* were you, I'd =3D take these two subjects and run with them. Compose wisely, and make a =3D statement! It's about time these two subjects were addressed.   Break a leg-   Rick   ------=3D_NextPart_000_000E_01C02E2E.A132ACC0 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   =3DFF=3DFE<=3D00!=3D00D=3D00O=3D00C=3D00T=3D00Y=3D00P=3D00E=3D00 = =3D00H=3D00T=3D00M=3D00L=3D00 =3D =3D00P=3D00U=3D00B=3D00L=3D00I=3D00C=3D00 =3D =3D00"=3D00-=3D00/=3D00/=3D00W=3D003=3D00C=3D00/=3D00/=3D00D=3D00T=3D00D=3D= 00 =3D00H=3D00T=3D00M=3D00L=3D00 =3D =3D004=3D00.=3D000=3D00 =3D =3D00T=3D00r=3D00a=3D00n=3D00s=3D00i=3D00t=3D00i=3D00o=3D00n=3D00a=3D00l=3D= 00/=3D00/=3D00E=3D00N=3D00"=3D00>=3D00=3D =3D0D=3D00=3D0A=3D =3D00<=3D00H=3D00T=3D00M=3D00L=3D00>=3D00<=3D00H=3D00E=3D00A=3D00D=3D00>=3D= 00=3D0D=3D00=3D0A=3D =3D00<=3D00M=3D00E=3D00T=3D00A=3D00 =3D =3D00c=3D00o=3D00n=3D00t=3D00e=3D00n=3D00t=3D00=3D3D=3D00"=3D00t=3D00e=3D00= x=3D00t=3D00/=3D00h=3D00t=3D00m=3D00=3D l=3D00;=3D00 =3D =3D00c=3D00h=3D00a=3D00r=3D00s=3D00e=3D00t=3D00=3D3D=3D00u=3D00n=3D00i=3D00= c=3D00o=3D00d=3D00e=3D00"=3D00 =3D =3D00h=3D00t=3D00t=3D00p=3D00-=3D00e=3D00q=3D00u=3D00i=3D00v=3D00=3D3D=3D00= C=3D00o=3D00n=3D00t=3D00e=3D00n=3D00=3D t=3D00-=3D00T=3D00y=3D00p=3D00e=3D00>=3D00=3D0D=3D00=3D0A=3D =3D00<=3D00M=3D00E=3D00T=3D00A=3D00 =3D =3D00c=3D00o=3D00n=3D00t=3D00e=3D00n=3D00t=3D00=3D3D=3D00"=3D00M=3D00S=3D00= H=3D00T=3D00M=3D00L=3D00 =3D =3D005=3D00.=3D000=3D000=3D00.=3D002=3D006=3D001=3D004=3D00.=3D003=3D005=3D= 000=3D000=3D00"=3D00 =3D =3D00n=3D00a=3D00m=3D00e=3D00=3D3D=3D00G=3D00E=3D00N=3D00E=3D00R=3D00A=3D00= T=3D00O=3D00R=3D00>=3D00=3D0D=3D00=3D0A=3D =3D00<=3D00S=3D00T=3D00Y=3D00L=3D00E=3D00>=3D00<=3D00/=3D00S=3D00T=3D00Y=3D= 00L=3D00E=3D00>=3D00=3D0D=3D00=3D0A=3D =3D00<=3D00/=3D00H=3D00E=3D00A=3D00D=3D00>=3D00=3D0D=3D00=3D0A=3D =3D00<=3D00B=3D00O=3D00D=3D00Y=3D00 =3D =3D00b=3D00g=3D00C=3D00o=3D00l=3D00o=3D00r=3D00=3D3D=3D00#=3D00f=3D00f=3D00= f=3D00f=3D00f=3D000=3D00>=3D00=3D0D=3D00=3D0A=3D =3D00<=3D00D=3D00I=3D00V=3D00>=3D00<=3D00F=3D00O=3D00N=3D00T=3D00 =3D =3D00c=3D00o=3D00l=3D00o=3D00r=3D00=3D3D=3D00#=3D00f=3D00f=3D000=3D000=3D00= f=3D00f=3D00 =3D =3D00f=3D00a=3D00c=3D00e=3D00=3D3D=3D00E=3D00r=3D00i=3D00c=3D00 =3D =3D00s=3D00i=3D00z=3D00e=3D00=3D3D=3D002=3D00>=3D00R=3D00e=3D00b=3D00e=3D00= k=3D00a=3D00h=3D00-=3D00&=3D00n=3D00=3D b=3D00s=3D00p=3D00;=3D00 =3D00Y=3D00o=3D00u=3D00 = =3D00h=3D00a=3D00v=3D00e=3D00 =3D00a=3D00n=3D00 =3D =3D00e=3D00x=3D00c=3D00e=3D00l=3D00l=3D00e=3D00n=3D00t=3D00 = =3D00=3D0D=3D00=3D0A=3D =3D00o=3D00p=3D00p=3D00o=3D00r=3D00t=3D00u=3D00n=3D00i=3D00t=3D00y=3D00 = =3D00h=3D00e=3D00r=3D00e=3D00.=3D00 =3D =3D00I=3D00f=3D00 =3D00*=3D00I=3D00*=3D00 =3D00w=3D00e=3D00r=3D00e=3D00 = =3D00y=3D00o=3D00u=3D00,=3D00 =3D =3D00I=3D00'=3D00d=3D00 =3D00t=3D00a=3D00k=3D00e=3D00 = =3D00t=3D00h=3D00e=3D00s=3D00e=3D00 =3D =3D00t=3D00w=3D00o=3D00 = =3D00s=3D00u=3D00b=3D00j=3D00e=3D00c=3D00t=3D00s=3D00 = =3D00a=3D00n=3D00d=3D00 =3D =3D00r=3D00u=3D00n=3D00 =3D00w=3D00i=3D00t=3D00h=3D00 = =3D00=3D0D=3D00=3D0A=3D =3D00t=3D00h=3D00e=3D00m=3D00.=3D00 = =3D00C=3D00o=3D00m=3D00p=3D00o=3D00s=3D00e=3D00 =3D =3D00w=3D00i=3D00s=3D00e=3D00l=3D00y=3D00,=3D00 =3D00a=3D00n=3D00d=3D00 = =3D00m=3D00a=3D00k=3D00e=3D00 =3D =3D00a=3D00 = =3D00s=3D00t=3D00a=3D00t=3D00e=3D00m=3D00e=3D00n=3D00t=3D00!=3D00 = =3D00I=3D00t=3D00'=3D00s=3D00 =3D =3D00a=3D00b=3D00o=3D00u=3D00t=3D00 =3D00t=3D00i=3D00m=3D00e=3D00 = =3D00t=3D00h=3D00e=3D00s=3D00e=3D00 =3D =3D00t=3D00w=3D00o=3D00 = =3D00s=3D00u=3D00b=3D00j=3D00e=3D00c=3D00t=3D00s=3D00 = =3D00=3D0D=3D00=3D0A=3D =3D00w=3D00e=3D00r=3D00e=3D00 =3D =3D00a=3D00d=3D00d=3D00r=3D00e=3D00s=3D00s=3D00e=3D00d=3D00.=3D00<=3D00/=3D= 00F=3D00O=3D00N=3D00T=3D00>=3D00<=3D00=3D /=3D00D=3D00I=3D00V=3D00>=3D00=3D0D=3D00=3D0A=3D =3D00<=3D00D=3D00I=3D00V=3D00>=3D00&=3D00n=3D00b=3D00s=3D00p=3D00;=3D00<=3D= 00/=3D00D=3D00I=3D00V=3D00>=3D00=3D0D=3D =3D00=3D0A=3D =3D00<=3D00D=3D00I=3D00V=3D00>=3D00<=3D00F=3D00O=3D00N=3D00T=3D00 =3D =3D00c=3D00o=3D00l=3D00o=3D00r=3D00=3D3D=3D00#=3D00f=3D00f=3D000=3D000=3D00= f=3D00f=3D00 =3D =3D00f=3D00a=3D00c=3D00e=3D00=3D3D=3D00E=3D00r=3D00i=3D00c=3D00 =3D =3D00s=3D00i=3D00z=3D00e=3D00=3D3D=3D002=3D00>=3D00B=3D00r=3D00e=3D00a=3D00= k=3D00 =3D00a=3D00 =3D =3D00l=3D00e=3D00g=3D00-=3D00<=3D00/=3D00F=3D00O=3D00N=3D00T=3D00>=3D00<=3D= 00/=3D00D=3D00I=3D00V=3D00>=3D00=3D0D=3D =3D00=3D0A=3D =3D00<=3D00D=3D00I=3D00V=3D00>=3D00&=3D00n=3D00b=3D00s=3D00p=3D00;=3D00<=3D= 00/=3D00D=3D00I=3D00V=3D00>=3D00=3D0D=3D =3D00=3D0A=3D =3D00<=3D00D=3D00I=3D00V=3D00>=3D00<=3D00F=3D00O=3D00N=3D00T=3D00 =3D =3D00c=3D00o=3D00l=3D00o=3D00r=3D00=3D3D=3D00#=3D00f=3D00f=3D000=3D000=3D00= f=3D00f=3D00 =3D =3D00f=3D00a=3D00c=3D00e=3D00=3D3D=3D00E=3D00r=3D00i=3D00c=3D00 =3D =3D00s=3D00i=3D00z=3D00e=3D00=3D3D=3D002=3D00>=3D00R=3D00i=3D00c=3D00k=3D00= <=3D00/=3D00F=3D00O=3D00N=3D00T=3D00=3D >=3D00<=3D00/=3D00D=3D00I=3D00V=3D00>=3D00<=3D00/=3D00B=3D00O=3D00D=3D00Y= =3D00>=3D00<=3D00/=3D00H=3D00T=3D00M=3D =3D00L=3D00>=3D00=3D0D=3D00=3D0A=3D =3D00 ------=3D_NextPart_000_000E_01C02E2E.A132ACC0--      
(back) Subject: Re: Interested Essay Question From: <DudelK@aol.com> Date: Wed, 4 Oct 2000 19:18:04 EDT   In a message dated 10/4/00 6:42:05 PM Eastern Daylight Time, = rringram@syr.edu writes:   << Any other ideas or comments? >> Learn how to design web pages and go after a "real" job. You can always = pick up a practice instrument for home and go out on the sub circuit on = weekends.  
(back) Subject: Re: Interested Essay Question From: "Rebekah Ingram" <rringram@syr.edu> Date: Wed, 4 Oct 2000 19:40:48 -0400     ----- Original Message ----- From: <DudelK@aol.com> To: <pipechat@pipechat.org> Sent: Wednesday, October 04, 2000 7:18 PM Subject: Re: Interested Essay Question   > << Any other ideas or comments? >> > Learn how to design web pages and go after a "real" job. You can always pick > up a practice instrument for home and go out on the sub circuit on weekends.   First of all, I know html. (It's not Java, but I -do- have a webpage.)   Second of all, were I stuck in a cubicle all day, I would wither away and die. I happen to be one of the lucky people who play and get paid for it.   While most of my fellow college students toil away at some burger-flipping (or pizza-serving) joint for whatever tips they can get, I make approximately 4 (maybe 5) times what they make per week in the span of a = few hours. And I love it. And I will not change that.   Pardon me for being touchy tonight, but I really resented that remark.   -Rebekah      
(back) Subject: Re: Interested Essay Question From: <Cremona502@cs.com> Date: Wed, 4 Oct 2000 20:01:46 EDT   In a message dated 10/4/00 6:40:51 PM Eastern Daylight Time, = rringram@syr.edu writes:   << The second is the future of the organ within the church. I thought the second might be a tad bit touchy for admission to the Sacred Music = program. >>   You might consider broadening the scope to include merging the pipe organ into untraditional church music.   I would also recommend law school, architecture, engineering , or = someother profession that would pay you enough money so that you could actually = enjoy playing the organ!   Bruce Cremona502@cs.com in the Beagles' Nest with the Baskerbeagles visit the Cornely pack at Howling Acres: Ourworld.cs.com/Brucon502  
(back) Subject: Re: Music gathering dust in library From: <Innkawgneeto@webtv.net> Date: Wed, 4 Oct 2000 23:39:16 -0400 (EDT)   Robert, it is folks like you that spur me on to do better. Thank you for your post. I mean that sincerely.   Neil B.    
(back) Subject: St. Patrick's Basilica (Montreal) From: "Carlo Pietroniro" <concert_organist@hotmail.com> Date: Wed, 4 Oct 2000 23:58:41 -0400   for those of you who are familiar with Montreal, I have pictures of the 3-manual Casavant organ of St. Patrick's Basilica. The organ is comprised = of three different organs....   S. R. Warren--1852 Casavant--1895 Providence Organ--1972   The 3-manual console is from yet another organ, which was removed from a church when it was demolished in 1972. I have pictures of the console = (with and without the bench), the casework (which dates back to 1895), and close-ups of the painted pipes. Anyone interested in seeing the pictures, please respond privately, and tell me which ones you'd like. There are 15 = in all, totalling 1.96MB.   Carlo  
(back) Subject: Re: Interested Essay Question From: <RonSeverin@aol.com> Date: Thu, 5 Oct 2000 00:24:22 EDT   Hi Rebekah:   Try an essay on non-traditional service music, the organ is usually excluded as being old fashioned. Fads come and go, but hopefully organ music will survive. Look at who attends such services and how they behave. Are they there to be entertained? Is this what people go to church for, to be entertained, or to worship God? Hopefully the latter, but music sets the tone for reverence, or the lack of it. Many ministers today talk of worldly rather than spiritual values. Does this affect the music? Start from there. The organ is a reverential instrument.   Regards,   Ron Severin  
(back) Subject: Elgar Organ Sonata From: "Chris Johns" <Chris_Johns@gmx.de> Date: Thu, 5 Oct 2000 11:01:05 +0200   Dear All,   For those of you who remember my enquiry about the CD of the orchestrated version of the Elgar Organ Sonata, I'm pleased to say I have been able to get hold of a copy from the Elgar Society in England (it's not available here in Germany). I can heartily recommend it to anyone learning the = piece: it's helped me to understand it better.   And now a few questions to those of you who've played this piece. Page numbers refer to the Breitkopf and H=E4rtel edition (the only one of which = I'm aware): 1) In the first of the semiquaver passages (page 3, line 3, bar 2, beat 3 = to the end of the page), it seems that both hands play on the same manual (first on I, then on II, then on I again etc.). When the same motif comes later in the piece (page 8, lines 4 and 5), the score seems to suggest overlap of the end of the arpeggio on one manual with the beginning of the next on the other. My question: do you play these passages differently, as printed, or do you opt for one of the two solutions? If the latter, which?   2) I'm blessed with big hands, but stretching an 11th is pushing it a little! How do you "cheat" for the passage on page 7?   Thanks for the benefit of your collective wisdom!   Best wishes   Chris Johns Frankenstrasse 5, D-49082 Osnabrueck Tel/Fax +49 (0)541 528 2568 EMail: Chris_Johns@gmx.de