PipeChat Digest #1627 - Thursday, October 19, 2000 Re: OK, I'll take the plunge by "Roger Brown" <firstname.lastname@example.org> Re: Austin 1628 Stoplist by "s c bournias" <email@example.com> Re: OK, I'll take the plunge by <firstname.lastname@example.org> RE: OK, I'll take the plunge by "Charles E. Brown" <email@example.com> Re: OK, I'll take the plunge by "s c bournias" <firstname.lastname@example.org> Pipes Spectacular by "George Lawn" <email@example.com> Re: Pipes Spectacular by "Alan Freed" <firstname.lastname@example.org> RE: Organist Shortage by "Randy Terry" <email@example.com> Pincemaille Records 10 Widor Symphonies on 10 Cavaill=C8-Colls by "William T. Van Pelt" <firstname.lastname@example.org> Widor Operas -- never seen nor heard... by "mhev.wa" <email@example.com> Anonymous postings by "Chris Johns" <Chris_Johns@gmx.de>
(back) Subject: Re: OK, I'll take the plunge From: "Roger Brown" <firstname.lastname@example.org> Date: Thu, 19 Oct 2000 19:40:02 +1100 Dear email@example.com and list From my detached position down here in Oz I think it is a great pity you have such a chip on the shoulder about a very substantial part of your profession. The pity is that there were some fragments of excellent advice in your postings but they are in danger of being obscured by the very off putting generalised "swipe" you take at an element of practitioners. Your posting on service playing told me very little about that art as such but you very rightly drew attention to the need for artistry and = discretion before all else. Challenging thoughts indeed - had you more appropriately targeted and expressed them. You must surely have expected the reaction your post on hymn playing received - and yet would we not always wish to say to the beginning = organist "play the notes cleanly and clearly and don't fuss with the stops". But there is life beyond that point even if again artistry and discretion are = so very necessary. Surely the element you failed to mention in your posting on music = selection, and yet one so vital, is the need to align one's choice of repertoire to = the instrument. Dandrieu and Frescobaldi may sound ravishing on some instruments - totally ineffective on others. But ditto for Lemare. And surely the main way to make any genre of music inaccessible is not to play it. And do you really (on any instrument), regard the Bach trio sonatas as inaccessible? If so you have not scaled the technical and artistic heights such music both requires and so amply rewards. I enjoyed your contributions (though I differ with you in many respects). But I though it a pity you allowed your obvious disenchantment with what I would believe to be a small minority of players to cloud the validity of what you wished to express. And why not tell us at least your given name? Roger Roger Brown firstname.lastname@example.org http://rogerbrown.tripod.com
(back) Subject: Re: Austin 1628 Stoplist From: "s c bournias" <email@example.com> Date: Thu, 19 Oct 2000 10:22:43 EDT thank you much. i will study and possibly comment on this....steve >From: LLWheels@aol.com >Reply-To: "PipeChat" <firstname.lastname@example.org> >To: email@example.com, <firstname.lastname@example.org> >Subject: Austin 1628 Stoplist >Date: Wed, 18 Oct 2000 17:03:28 EDT > ><i would be interested in a specification for your Austin organ. Any >possibility of obtainig such??? steve bournias > > > >Steve - Thanks for your interest. I am sending both the original and >current >stoplist. > >We are about to engage on a rebuilding project which will primarily be an >action re-build/re-leathering. There will be few tonal changes. The reeds >will all be re-manufactured, the GT 16 Diap will be made to play at 8' as >well as a second diapason. The SW 8' diapason will be replaced, as will = the >string & it's celeste for something broader, the 16' flute will play at = 16 >& >8 and the 8' stopped diapason will be removed to make room for a 4' >harmonic >flute. The CH 4' Violin Diap. will be made to play also at 8'. The >unsuccessful 32s will be replaced with 12-note electronics and the 32' = flue >will be made available on the GT. The Echo will become a SOLO with the >addition of an 8' Stentor Diapason (Original Gt 1st Open), an 8' Harmonic >Flute, and a Hooded Trumpet. The SW oboe and the CH French Horn and >Clarinet >will be available on the Solo. The console will be replaced with a new or >used 4 manual one. At least thats the current plan - it will no doubt >change >once we decide on an organbuilder. > >This is the current stoplist - the original stoplist is below that. > >Kenwood United Methodist Church > >Current Stoplist. 1997 >AUSTIN ORGAN COMPANY, Hartford CT. >Opus 1628 > 1928, 1948, 1968 > >MICHAEL J. O=E2=80=99DEA, > Flue Voicing and Revision, 1995 > >The A.O. Smith Memorial Organ > >GREAT (Unenclosed)(Shutters removed) > >16=E2=80=99 Metal Diapason >8=E2=80=99 Open Diapason (Diapason from the Echo (moderately large = scale) old >removed. >8=E2=80=99 Chimney Flute (replaced 2nd diap) >8=E2=80=99 Open Flute (CH) >8=E2=80=99 Gemshorn >4=E2=80=99 Principal >4=E2=80=99 Flute d=E2=80=99Amour >2=E2=80=99 Superoctave >IV Mixture (on chest) >8=E2=80=99 Tuba Mirabilis (poor condition) >GT Sub & Super, Unison Off >SW Sub, Unison, Super >CH Sub, Unison, Super >Echo On Great (only!) > >SWELL > >16=E2=80=99 Lieblich Gedeckt (some dead notes lower oct.) >8=E2=80=99 Open Diapason (old GT 2nd diap - unsuccessful) >8=E2=80=99 Stopped Diapason >8=E2=80=99 Salicional >8=E2=80=99 Voix Celeste >4=E2=80=99 Principal (That=E2=80=99s correct - NO 4=E2=80=99 flute!) >2-2/3=E2=80=99 Nazard >2=E2=80=99 Flautina >1-3/5=E2=80=99 Tierce >IV Plein Jeu (actually 5 rks) (on offset electro-mechanical chest) >16=E2=80=99 Bassoon (From Oboe) >8=E2=80=99 Trumpet >8=E2=80=99 Oboe >4=E2=80=99 Clarion ( from Oboe) >8=E2=80=99 Vox Humana >SW Sub & Super, Unison Off > >CHOIR (Enclosed) > >16=E2=80=99 Dulciana >8=E2=80=99 Open Flute >8=E2=80=99 Flute Celeste >8=E2=80=99 Dulciana (From 16=E2=80=99) >4=E2=80=99 Principal >4=E2=80=99 Flute d=E2=80=99Amour (GT) >2=E2=80=99 Harmonic Piccolo >1-1/3=E2=80=99 Larigot >II Mixture (high-pitched - on offset EM chest) >8=E2=80=99 Clarinet >8=E2=80=99 French Horn >8=E2=80=99 Tuba Mirabilus (GT) (poor condition) >Choir Sub & Super, Unison Off >SW Sub, Unison, Super > >PEDAL (Unenclosed except borrows) > > >(Echo) 16=E2=80=99 Open Bass (Bottom 12 notes only) > >(Echo) 16=E2=80=99 Echo Bass (Bottom 12 notes only) >32=E2=80=99 Resultant (Loud )(Actually speaks the 64' harmonic series) >16=E2=80=99 Open Diapason (Wood) >16=E2=80=99 Metal Diapason (GT) >16=E2=80=99 Bourdon >16=E2=80=99 Lieblich Gedeckt (SW) >16=E2=80=99 Dulciana (CH) >8=E2=80=99 Diapason >8=E2=80=99 Flute >4=E2=80=99 Choral Bass (From 8=E2=80=99) >IV Mixture >32=E2=80=99 Reed Harmonics (Actually speaks the 64' harmonic series) >16=E2=80=99 Trombone (GT Tuba) >GT 8 & 4 >SW 8 & 4 >CH 8 & 4 > >ECHO (Several stops installed in 1948 have been moved to the main organ) >8=E2=80=99 Vox Etheria >8=E2=80=99 Vox Etheria Celeste >8=E2=80=99 Cor d=E2=80=99Anglais >Chimes (Tubular) (About 25 tubes) > >Second set of Electronic Chimes on small attached clavier. > >COMBINATIONS (Tripper-type) >General 1-8 (Above SW manual), cancel (usual loc.) >On toe-studs: General 9-12, GT-PED, Sfz >8 divisionals each under SW and CH, 4 GT, 4 Echo >4 PED on toe-studs. SW ,CH and ECHO shoes. >Register Crescendo (Not well set-up) >All Swells-SW, Choir Signal under Right key-cheek >NOTE: ALL DIVISIONALS ALSO CHANGE PEDAL. THIS IS NOT ADJUSTABLE. (drat!) > +++++++++++++++++++++++++++ > >Original Stoplist > >Kenwood Methodist Episcopal Church >Milwaukee, WI >(Now Kenwood United Methodist Church) > >Here is the original 1928 stoplist. >AUSTIN ORGAN COMPANY, Hartford CT. >Opus 1628, 1928 > >for >Kenwood Methodist Episcopal Church >Milwaukee, Wisconsin > >The A.O. Smith Memorial Organ > >GREAT (Enclosed seprately on Choir Shoe except as noted) > >16=E2=80=99 Major Diapason (Unenclosed) >8=E2=80=99 First Open Diapason (Unenclosed) >8=E2=80=99 Second Open Diapason >8=E2=80=99 Gross Flute >8=E2=80=99 Gemshorn >8=E2=80=99 Clarabella (CH) >4=E2=80=99 Flute d=E2=80=99Amour >4=E2=80=99 Principal >8=E2=80=99 Tuba Mirabilis >Chimes > >SWELL > >16=E2=80=99 Bourdon >8=E2=80=99 Open Diapason >8=E2=80=99 Stopped Diapason >8=E2=80=99 Viole d=E2=80=99Orchestre >8=E2=80=99 Viole d=E2=80=99Orchestre Celeste >8=E2=80=99 Echo Salicional >4=E2=80=99 Fugara >4=E2=80=99 Harmonique Flute >2=E2=80=99 Flautina >8=E2=80=99 Cornopean >16=E2=80=99 Double Oboe Horn (From 8' Oboe) >8=E2=80=99 Oboe >4=E2=80=99 Clarion (From 8' Oboe) >8=E2=80=99 Vox Humana > >CHOIR > >16=E2=80=99 Dulciana >8=E2=80=99 Violin Diapason >8=E2=80=99 Clarabella >8=E2=80=99 Flute Celeste >8=E2=80=99 Dulciana (From 16') >4=E2=80=99 Flute d=E2=80=99Amour (GT) >8=E2=80=99 Clarinet >2=E2=80=99 Harmonic Piccolo >8=E2=80=99 French Horn >Harp >Celesta >8=E2=80=99 Tuba Mirabilus (GT) > >PEDAL > >16=E2=80=99 Open Diapason (Wood) >16=E2=80=99 Bourdon >16=E2=80=99 Violone (GT) >16=E2=80=99 Lieblich Gedeckt (SW) >16=E2=80=99 Dulciana (CH) >8=E2=80=99 Gross Flute (GT) >8=E2=80=99 Dolce Flute >8=E2=80=99 Violincello (GT) >16=E2=80=99 Trombone (GT Tuba) >16=E2=80=99 Double Oboe Horn (SW) > >ECHO (division prepared-for only)(Installed in 1948 with slightly = different >stoplist) >(Playable on GT only - couples to Ped and 2 Ped stops play on Pedal.) >8=E2=80=99 Stentor Diapason >8=E2=80=99 Chimney Flute >8=E2=80=99 Vox Etheria >8=E2=80=99 Vox Etheria Celeste >8=E2=80=99 Cor d=E2=80=99Ainglais >8=E2=80=99 Vox Humana >4=E2=80=99 Chimney Flute (from 8=E2=80=99) >Chimes > >ECHO PEDAL > >16=E2=80=99 Open Bass (12+ Stentor) >16=E2=80=99 Echo Bass (12+ Chimney Flute) > > > > >Larry L. Wheelock > > >"Pipe Up and Be Heard!" >PipeChat: A discussion List for pipe/digital organs & related topics >HOMEPAGE : http://www.pipechat.org >List: mailto:email@example.com >Administration: mailto:firstname.lastname@example.org >Subscribe/Unsubscribe: mailto:email@example.com > _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
(back) Subject: Re: OK, I'll take the plunge From: <firstname.lastname@example.org> Date: 19 Oct 2000 08:11:38 -0700 On Thu, 19 October 2000, "Roger Brown" wrote: > And do you really (on any instrument), regard the Bach trio sonatas as > inaccessible? If so you have not scaled the technical and artistic = heights > such music both requires and so amply rewards. Several things in the mystery postings have struck me, and I had the same = reaction to this one. It's hard to imagine pieces as light and delightful = as the trio sonatas being "inaccessible". I've always wanted to hear the = third movement of the first sonata on a carousel calliope. That would put = a smile on the Grinch's face. I would also argue that talking during the prelude is not a vote on the = music chosen by the organist, but yet another expression of the public's = lack of respect for music in general. In those churches where people talk = before the service, they talk no matter what the prelude is. Most people don't listen to music the way we do. To them, it's just a = mood-setting background for whatever else they're doing. The sound just = disappears into the sand on the right sides of their brains. Many = non-musicians can actually read while music is playing. If you perform music of any kind for the public in any venue, you're going = to have to come to terms with that somehow. Dick Meckstroth
(back) Subject: RE: OK, I'll take the plunge From: "Charles E. Brown" <email@example.com> Date: Thu, 19 Oct 2000 11:29:57 -0400 It seems that with each posting, Mr. Toelz (since he refuses to give his name or identify himself) is digging himself in deeper. I have some questions if he is willing, or able, to answer: 1 - Do you feel that anyone that does not subscribe to your philosophy of service playing is a "Flash Organist" or AGO-Circle type? 2 - Would you be happy if you heard a reading of the poetry, or text, of a hymn read in a monotone or emotionless voice? 3 - Are you saying that if an organist uses improvisational techniques in the accompaniment of hymn, that the organist is not being reverant and is just trying to draw attention to themselves? 4 - Do you feel that the vast resources of an organ should not be used to inspire, or highlight, the emotional mood of a hymn? 5 - Do you think that congregational interest in prelude/postlude music could partially be a function of society today, as well as educational techniques (use of bullitin notes, etc.) I would me most interested in your answers. Dr. Charles E. Brown (and signed most proudly)
(back) Subject: Re: OK, I'll take the plunge From: "s c bournias" <firstname.lastname@example.org> Date: Thu, 19 Oct 2000 12:25:35 EDT what might help the situation is if people are nice more often and less definite about their feelings on things and try to find beauty in all = things musical instead of categorizing....for example...french vs = german...romantic vs baroque...try to look at the good in everything and make the organ a medium to express some of that good. there is enough bad in the = world...too much arguing and disagreement...why can't people switch gears and be = civil. avoid unecessary confrontations and show repect for diverse views, = tastes. etc? ..steve bournias >From: email@example.com >Reply-To: "PipeChat" <firstname.lastname@example.org> >To: "PipeChat" <email@example.com> >Subject: Re: OK, I'll take the plunge >Date: Wed, 18 Oct 2000 23:57:30 -0400 > >At 05:12 PM 10/18/2000 -0400, you wrote: > >More bluntly, does > >the general public see us as unapproachable snobs >who have appointed > >ourselves arbiters of taste trying vainly to >elevate them, the = unwashed > >masses? > >That's a good possibility. I have dealt with a lot of church music >committees, and most all mention the "ego" of the organist as an = impediment >to their music program. Most all mention that the organist wants to be = on >center stage. Most all mention that the organist seems detached from not >only the worship service, but from the life of the church in general. = Most >all mention that the music the organist selects does not meet the needs = of >the general parishioner. It is probably no accident that the newest = church >built in this town has a new concert grand piano, but no organ. They may >not have been able to buy a new pipe organ for that amount of money, but >they certainly could have had a nice Rodgers or Allen, had they wanted an >organ. On the other hand, our church is presently building a new >multi-million dollar worship space that will include a very nice new >organ--and the organ is already paid for; in fact, there was no problem >getting the money from parishioners. That tells me something. That = tells >me that even without the flash playing, we could get hundreds of = thousands >of dollars for an organ even after parishioners had pledged to pay for = the >building. So I KNOW that flash is not necessary. > >There is a shortage of people who play the church organ, and there are = few >people who want to learn. There are vacancies all over this town, and >there are classified ads for organists in the paper virtually every week. >Yet the positions remain unfilled, or either someone from the church with = a >little piano training sits on the organ bench and plays the piano on the >organ. The major churches have organists, but many of the smaller >churches, say in the range of up to 500 members, do not. If present = trends >continue, and still fewer and fewer people begin playing the organ, it >won't be long until even the major churches will not have organists. = They >will then be like the smaller churches and either use pianos, piano = players >playing the organ, recorded music, or said services. > >Look at the responses my posts have generated. I said from the outset = that >I was merely expressing my opinions. Yet I stepped on some toes here. I >criticized the "vocal organ world." I dared question, in veiled and >not-so-veiled terms, the value of "Tu Es Petra," Dianne Bish, Jean >Langlais, flash music, trumpet fanfares, 32' roaring reeds, = Liberace-style >showmanship at the console. I dared question a style of playing that, in >basest terms, reduces the organ to circus act entertainment, which is = what, >by and large, the "vocal organ world" has become. No wonder churches are >losing interest, and no wonder few people are wanting to join the >"performing troupe." "Church organists" who use the chancel as a stage, >and those who, if they happen to play at a church of over 1000 members, >have an ego the size of the Titanic. I got several mean responses, and = I'm >sure there are several more coming, and I'm sure there are several who >would like to write one but who won't--in other words, the exact same >response that churches get unless they put the organist on an elevated >pedastal, recognize his/her obvious superiority and never question = his/her >obvious "musical" genius. The same stick the nose up in the air, turn on >the heels, and, "Well, you obviously are all just a bunch of idiots" >response that has turned many churches completely off to not only the >stage-seeking organists but to the organ itself. The "vocal organ world" >is digging the grave of the organ, or else will reduce it to a side-show = at >the county fair. > >I would say that the style of playing many organists exhibit belongs more >in a Las Vegas showroom than in a church, but they can't even make it in >Vegas! I read a review one time of a performance by the organist at the >Theatre Organ set up in one of the casino restaurants in Vegas. The >reviewer said that there was so much talking from the patrons that the >organist had to use full organ all the time, and still could hardly be >heard above the crowd. I hear church organists complain frequently about >talking during the prelude. Well, what does it take to knock the sense >into some organists? If people talk over the flash playing, shouldn't = that >at least make someone think that maybe, just maybe, the public is not >interested? I mean, here you have an organist doing his best to flash = and >razzle-dazzle, yet is treated by the patrons as an obnoxious irritant to >their conversations. But for some reason, the vocal organ world has >convinced itself that flash and razzle-dazzle is what the public wants to >hear, and no matter how much the public ignores them, they still think >that. If I were playing the organ and people were carrying on >conversations over my playing, I would assume they didn't care about >hearing my playing. Face it--the organ as a circus act sideshow is = always >going to be ignored by the general public. > >I posted these things without a signature for two reasons. First, I = don't >give out my name on the internet, to organ people or to anyone. Second, = I >want my thoughts to be judged on their own merits, not on from whom they >come. You see, no one knows--I could be the organist at a major = Episcopal >parish somewhere in a large city or I could be the organist in a smaller >town. I could make my living teaching organ at a local college, or I = could >make my living as a CPA, or maybe I am also a Priest, who knows? One of >the things I have criticized about the vocal organ world is that they = tend >to have sort of a "hero worship." If someone would agrees just because = the >writer is organist at a major parish, in today's world that's really not >necessarily agreement with ideas. I'm promoting ideas, not a = personality. > > > >"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 > _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
(back) Subject: Pipes Spectacular From: "George Lawn" <email@example.com> Date: Thu, 19 Oct 2000 11:16:19 -0700 Ouachita Valley Chapter, AGO Monroe, Louisiana First Presbyterian Church, Monroe, Louisiana 3/70 Dan Garland organ... 1993 The Prelude Toccata and Fugue in d, BWV 565 J.S.Bach D.H.Clark, Organ The Hymn LOBE DEN HERREN The Organ Prayer Choral Prelude on NETTLETON arr. Diane Bish Hunt Neeley, Organ The Choral Introit Draw Us In the Spirit's Tether Harold Friedell The Liturgical Dance Suite Gothique, op. 25 .. Menuet Gothique Deborah McClung-Guillory, Organ The Hymn Introduction Chorale Prelude onf ENGLEBERG... arr. Page Deborah McClung-Guillory, Organ The Hymn ENGLEBERG The Offertory Toccata, Adagio, and Fugue in C, BWV 564 Adagio in a Mark McCleery, Cello Richard Seiler, Organ The Anthem Psalm 150 Cesar Franck The Sermon "The Organ Sings its Music to our Souls in Many Ways" Londonderry Air arr. Noel Rawsthorne Hunt Neely, Organ Angels Among Us Robert J. Powell Charles Eve and Tracie Ellerman, Organ Duo HOLY MANNA improvisation by Sand Lawn Sand Lawn, Organ Duxieme Suite, Op 53 Louis Vierne "Claire de Lune" McCoy Ransom, Organ The Closing Hymn ST. ANNE Partita on ST. ANNE, Op.. 6 Paul Manz McCoy Ransom, Organ The Benediction Healey Willan The Postlude Symphonie V, Op. 42 "Toccata" Charles-Marie Widor Charles Eve, Organ 500 people attended, a most enjoyable afternoon. Sand Lawn
(back) Subject: Re: Pipes Spectacular From: "Alan Freed" <firstname.lastname@example.org> Date: Thu, 19 Oct 2000 13:17:16 -0400 By the looks of it, a fantastic event! Your hard work, it would seem, paid off big time! Alan > From: George Lawn <email@example.com> > Subject: Pipes Spectacular > > Ouachita Valley Chapter, AGO > Monroe, Louisiana > > First Presbyterian Church, Monroe, Louisiana > 3/70 Dan Garland organ... 1993 > > The Prelude
(back) Subject: RE: Organist Shortage From: "Randy Terry" <firstname.lastname@example.org> Date: Thu, 19 Oct 2000 10:36:04 -0700 I have often alluded to the fact that the changes occurring in worship = style and music affects the organ's role in worship. It seems now to be = becoming more an equal player in an ensemble in some cases, while remaining the leader in others. Worst case is the wholesale replacement of the organ altogether with orchestras or bands. I watched the Crystal Cathedral recently and was sort of perturbed that = the organ was overshadowed by the orchestra on the televised version of the service. Hopefully the instrument gets plenty of solo use as well during other times! However, the fact that making a living in church music is very difficult = and in many cases the money offered for part-time positions is not worth the trouble, has to be adding to the problem. I work full time (currently) in = a management position in a large UMC church in a wealthy Silicon Valley suburb. I often work 50-60 hour weeks. I have a well paying part-time (generally only Sunday morning rehearsals and service) organist/choir job = at another (Episcopal) church, but sometimes I wish I could just stay home = and rest on Sundays. Plus my AGO Board volunteer work...I NEVER stop. I have to wake up at 5 a.m. just to have a couple of hours of "personal" time alone. I get home around 7 p.m., eat, watch a TV show or two, go to bed, and do the same thing again... Does anyone ever have the same feelings?? Randy Terry
(back) Subject: Pincemaille Records 10 Widor Symphonies on 10 Cavaill=C8-Colls From: "William T. Van Pelt" <email@example.com> Date: Thu, 19 Oct 2000 14:37:55 -0400 Pierre Pincemaille, titulaire of St. Denis Basilica in Paris, has recorded all ten of the organ symphonies of Widor on ten Cavaill=E9-Coll organs. = The five-CD set is being introduced in Paris this month. OHS offers this new = set on the opening page at http://www.ohscatalog.org. The organs: St-Ouen de Rouen (Symphony 9) St-Sernin de Toulouse (Symphony 10) St-Fran=E7ois de Sales, Lyon (Symphony 5) St-Sulpice, Paris (Symphony 6) St-Antoine des Quinze-Vingts, Paris (Symphony 2) St Denis Basilica, Paris (Symphony 4) La Madeleine, Paris (Symphony 7) Ste-Croix St-Servan sur Mer (Symphony 3) Cathedral St-Peter of Lisieux (Symphony 1) St-Etienne de Caen (Symphony 8) Bill Bill
(back) Subject: Widor Operas -- never seen nor heard... From: "mhev.wa" <firstname.lastname@example.org> Date: Thu, 19 Oct 2000 13:53:53 -0700 Yes, but have the French recorded any 'Operas' written by Widor ... ? He is said to have written at least 3. No North American opera company (not even in Montreal) has -- to the best of my knowledge performed a Widor 'Opera'. Let us not for get that the ever popular Sir Arthur Sullivan wrote at = least one 'Grand Opera' Ivanhoe -- and that has probably not been performed for at least the past 30 years! = (?, more) > Pierre Pincemaille, titulaire of St. Denis Basilica in Paris, has = recorded > all ten of the organ symphonies of Widor on ten Cavaill=E9-Coll organs. = The > five-CD set is being introduced in Paris this month. OHS offers this new set > on the opening page at http://www.ohscatalog.org. The organs: > St-Ouen de Rouen (Symphony 9) > St-Sernin de Toulouse (Symphony 10) > St-Fran=E7ois de Sales, Lyon (Symphony 5) > St-Sulpice, Paris (Symphony 6) > St-Antoine des Quinze-Vingts, Paris (Symphony 2) > St Denis Basilica, Paris (Symphony 4) > La Madeleine, Paris (Symphony 7) > Ste-Croix St-Servan sur Mer (Symphony 3) > Cathedral St-Peter of Lisieux (Symphony 1) > St-Etienne de Caen (Symphony 8) _____NetZero Free Internet Access and Email______ http://www.netzero.net/download/index.html
(back) Subject: Anonymous postings From: "Chris Johns" <Chris_Johns@gmx.de> Date: Thu, 19 Oct 2000 14:01:22 +0200 Dear All, I too welcome the postings from email@example.com , even if I disagree = with a certain amount of what he/she has to say. When time permits, I will perhaps put in my own two-penneth. I do, however, consider it a matter of basic courtesy to sign posts to the list with one's name (it that not list etiquette?), even if no more details follow. You guys know that I'm Chris Johns, I may even have put "Musical Assistant, Osnabrueck Cathedral" on = some posts, but that doesn't tell you a lot about me. I could be male (Christopher/Christian) or female = (Christine/Christina/Christiane/Crystal), anything between 20 and 120 years old, married, single, gay, straight etc. So please firstname.lastname@example.org , at least give us your name. I look forward = to your future posts, and hope to have the time soon to comment on those we have read so far. Best wishes, Chris Johns Frankenstrasse 5, D-49082 Osnabrueck Tel/Fax +49 (0)541 528 2568 EMail: Chris_Johns@gmx.de