PipeChat Digest #1236 - Monday, January 24, 2000
 
Crescendo Pedals
  by <RMB10@aol.com>
Re: Crescendo pedal order?
  by "David Scribner" <david@blackiris.com>
Re: Crescendo pedal order?
  by "Richard Pinel" <rpinelchat@musicman123.freeserve.co.uk>
X-post: Hobby Hymn Festival
  by "bruce cornely" <rohrschok8@webtv.net>
Re: 5th Ave Pres. (NYC)
  by "Hugh Drogemuller" <lon.hdrogemuller@wwdc.com>
Re: Music Request
  by <RMaryman@aol.com>
Re: Crescendo pedal order?
  by <RMaryman@aol.com>
Re: Crescendo pedal order?
  by "Nelson And Tracy Denton" <ndenton@cgocable.net>
National Shrine Director Position Open- NOT!
  by <ScottFop@aol.com>
Stoplist for crescendo pedal programming, Pt. I
  by "Shirley" <pnst@snip.net>
Stoplist for crescendo pedal programming, Pt. 2
  by "Shirley" <pnst@snip.net>
Re: National Shrine Director Position Open- NOT!
  by "Bob Scarborough" <desertbob@rglobal.net>
Re: National Shrine Director Position Open- NOT!
  by <JDeCaria@aol.com>
Music of Henry Smart
  by <DRAWKNOB@aol.com>
Mystery (to me) organ-orchestra piece
  by <JKVDP@aol.com>
Re: National Shrine Director Position Open- NOT!
  by <Innkawgneeto@webtv.net>
Re: Music of Henry Smart
  by "Hugh Drogemuller" <lon.hdrogemuller@wwdc.com>
Re: Music of Henry Smart
  by "John L. Speller" <jlspeller@stlnet.com>
Re: Crescendo pedal order?
  by <NFexec@aol.com>
Re: Music of Henry Smart
  by "Roger Brown" <robrown@free.net.au>
Re: Edward Shippen Barnes: Solemn Prelude
  by "Bob Scarborough" <desertbob@rglobal.net>
Re: Music of Henry Smart
  by "Chris Baker" <cembalist@chorale.demon.co.uk>
Re: Crescendo pedal order?
  by "Jon C. Habermaas" <opus1100@theatreorgans.com>
 




(back) Subject: Crescendo Pedals From: <RMB10@aol.com> Date: Sun, 23 Jan 2000 07:23:45 EST   When I was Assoc. Minister of Music at Calvary Church in Charlotte, NC, (V/205 Moller) I had an SSL system on the organ, which included 4 levels = of Crescendo pedals. The "Standard" which automatically came one when the = power was switched on, went from soft to loud and included the two Ancillary divisions, 32" Contra Bombarde, etc. It was literally the full organ crescendo. Crescendo A was set up the same way.......the whole organ came = on gradually. Crscendo B was what I used most of the time, since it only brought on stops of the enclosed divisions and the great and pedal, which = was great when accompanying. If you needed more, you could always hit a = piston or two and bump things up a dynamic level, but for most purposes, bringing = on the enclosed reeds and Great upperwork did the trick. Crescendo C was set = up for an orchestral build-up, with strings, flutes, trems, and eventually building to reeds and 32's, with only a couple of the soft mixtures. It = was wonderful when playing transcriptions.   My preference for a set up would be, all 8' couplers on, then the softest stops of each division, building to 4's, soft reeds and soft 2's, 2' Principals, soft mixtures, soft 32's, reeds, loud mixtures,32' = foundations, reeds to cap off full organ, and last would be 32' Bombarde. I don't mind =   having the celestes stay on, because I've played organs that have them programmed to be cut off, and there seems to be a "bump" when you bring = the crescendo back down. It never is quite smooth, whereas if the celeste = stays on, it just makes a smoother decrescendo. Anyway, there's going to be so much other stuff on, you'll never hear the 2 or 3 sets of celestes.   Just my thoughts......     Monty Bennett  
(back) Subject: Re: Crescendo pedal order? From: "David Scribner" <david@blackiris.com> Date: Sun, 23 Jan 2000 07:03:56 -0600   At 4:42 PM -0800 1/22/00, Quilisma@socal.rr.com wrote: >[SNIP] > >Also, most of y'all are talkin' like the crescendo pedal is a device that = you >apply "classic" principles to ... ain't so! It's a service-playing and >ACCOMPANIMENTAL device, for the most part (except for Reger pieces >that call for >the rollschweller, and even there, most American crescendo pedals can't = be >partially opened and then cancelled by a piston and brought on later like = a >rollschweller).   I have to agree with Bud here. Over the years I have found the only use for the crescendo pedal is to help with accompaniments especially some of those that are from the Victorian period and were originally written with an orchestral accompaniment in mind. Over the years I don't really remember ever using the Crescendo pedal in the playing of literature but do remember using it extensively for choir accompaniments. Based on that usage it should be built up from the 8' and 4' stops in each division to a fairly full organ leaving off the "Big Guns" - Mixtures and Reeds on unenclosed divisions. Those can be brought on by the Tutti. And I am also of the opinion that the 8' couplers should be brought on fairly early in the process so there isn't a "bump" when they are added. If Super Couplers are needed to help in the build up they should be added in such a was that they also don't cause a noticeable "bump" in the build-up. The Crescendo should be seamless.   About a week ago Stephen Roberts, who was here to do a couple of recitals and a Masterclass, was my house guest. He was doing the Rebuke Sonata as part of his recital and one evening he was discussing the problems with registering it on American organs. The American crescendo pedal is nothing like the German rollschweller, which can be controlled by an assistant via a lever, something I had never know before that discussion. His opinion is that the American crescendo pedal is not usually a good substitute for the rollschweller.   Just my $.02 worth.   David    
(back) Subject: Re: Crescendo pedal order? From: "Richard Pinel" <rpinelchat@musicman123.freeserve.co.uk> Date: Sun, 23 Jan 2000 13:09:04 -0000   >When Messiaen had La Trinite elecrocuted and the American-style console >installed, he DID set up the crescendo pedal to bring on successive = groups of >stops by family and pitch from softest to loudest, as I recall ... he = also had it >set to go all the way to full organ, if I'm not mistaken. The details = were in a >Diapason article not too terribly long ago. He must have used it for improvising >... I don't recall any Messiaen works calling for the crescendo pedal, doubtless >because his was one of very few organs in France that HAD one.     Cochereau liked to use a crescendo pedal (I believe he had one put on the new console at Notre-Dame). David Briggs said that they are handy for improvising because you only have one control for the whole crescendo. Therefore I would expect that Messiaen did only use it for improvisations.   Incidentally, does anybody know about the rumored recordings of Messiaen locked up in the La Trinity volt?   Richard    
(back) Subject: X-post: Hobby Hymn Festival From: "bruce cornely" <rohrschok8@webtv.net> Date: Sun, 23 Jan 2000 08:28:22 -0500 (EST)   I really don't like to triple-post, but I really wanted to share this wonderful experience with the groups! A wonderful hymn festival...   God's Creation -- As it was in the beginning.... First Lutheran Church -- Gainesville FL Prelude -- Blessed Jesus, We Are Here -- Bach Reading from Psalm 104, reflection by Pastor Hinz. : All people that on earth do dwell (old 100th) 1, 2 all; 3 women/children; 4 men; 5 all : Beautiful Savior (Schoenster Herr Jesu) 1 all; 2, 3 choir; 4 all : Let all things now living (The Ash Grove) 1, 2: 1st phrase M; 2nd phrase W/C; 3rd phr all : Reading--Psalm 8; reflection by pastor : See this wonder in the making (Hanna's Song) & Children of the heavenly father (Tryggare...) ---The congregation sang "See...." 1A, 2M, 3W/C, 4A; between each stanza a soloist sang a stanza of "Children...) =A0 The two hymns fit beautifully together. : Salvation unto us has come (Es Ist Das Heil) 1 solo, 2 choir, 3 all This melody was sung over a drone-type accompaniment, and sung in a rolicking festive style, complete with drums, blocks and bells. =A0 It was a wonderful, exciting arrangement. : Beloved, God's Chosen (Andrew's Song) 1-3 all =A0 This is a very intriguing and unusual tune, although not difficult once you get the feel of it. =A0 It is contemporary in the best of taste! : Oh, Sing to the Lord (Cantad al Senor) 1Ch; 2M; 3A; 4W/C; 5A A wonderful use of the organ in unusual accompaniments; printed "harmonization" tossed out, and replaced by a rhythmically exciting repeated chord style on 8 & 4 stops; melody solo'd on Sesquialtera. Drums, bells and toy counter re-appeared. =A0 And most importantly for latin-american hymns, it was not sung fast, yet remained rhythmically intense. A definate "must do." : Musical Offering - Joyful, joyful, we adore thee A wonderful improvisation on the familiar tune. The guy is a whiz and his improvisations are whimsical and exciting. : Reading - Revelation 21; reflection by pastor : The Church's One Foundation (Aurelia) 1A; 2Aharmony; 3organ; 4Aharmony; 5 A How Firm a Foundation (Foundation) 1A; 2Ch in canon (2meas); 3Acanon; 4A : Ye Watchers and Ye Holy Ones -- (Lasst uns...) 1, 2All; 3 choir; 4 All : Prayers and Benediction : God, Who Made the Earth and Heaven (ArHyd) 1All, 2-3 All harmony; 4 All : Postlude - Concerto in g-minor: allegro =A0 Karl Heinrich Graun : Robery Hobby's hymns are the best of contemporary/traditional blended style. =A0 The are gentle and flowing, and rhythmically and melodically fresh and interesting. =A0 His improvisation introductions to all the hymns were unique and made the introduction an anticipation of the hymn. : To feed the needs of the "oldies" in the congregation (that would be ME!), his treatment of Aurelia and Ar Hyd Y Nos were in the grand Anglican style and caused me to be nearly "puttified". =A0 His use of the limited resources of the organ was quite creative and very pleasant. In spite of newly deadened acoustics which effectively removed the "bloom and guts" from the organ, the congregation sang well, although it was difficult to hear my self. =A0 Come on, folks, moving carpet from the aisles to under the pews is NOT a solution! : The church choir of about 30, and bell choir, directed by Art Swett really came through. =A0 'Tis is pity the carpet made them sound remote, as well. : The organ is opus 7 of Kinzey-Angerstein built in 1982. GREAT 16 Pommer =A0=A08 Prestant =A0=A08 Gedackt =A0=A04 Octave =A0=A04 Blockfloete =A0=A02-2/3 Nazard * =A0=A0=A0=A0=A0Sesquialtera II * (double draw) =A0=A02 Flachfloete =A0=A0=A0=A0=A0Mixture IV-V =A0=A08 Trompet : SWELL =A0=A08 Rohrfloete =A0=A08 Gemshorn =A0=A08 Celeste tc =A0=A04 Floete =A0=A02 Principal =A0=A01-1/3 Quinte =A0=A0=A0=A0=A0Scharf IV =A0=A08 Cromorne =A0=A0=A0=A0=A0Tremolo : PEDAL 16 Subbass =A0=A08 Octavbass =A0=A04 Choralbass =A0=A02 Doublette * =A0=A0=A0=A0=A0Mixture IV " =A0 double draw 16 Fagott : Couplers (hitch-down pedals) Swell to Great Great to Pedal Swell to Pedal : The organ is mechanical key and stop action and is encased on the top level of the gallery choir loft. =A0 The Swell is in brust position; the Great is above in the central case; the Pedal is divided in side towers. : In summary, I recommend.... a) get a mechanical action organ; b) have Robert Hobby dedicate it with a hymn festival. Cheers   bruce cornely ~:~:~ rohrschok8@webtv.net gainesville, florida    
(back) Subject: Re: 5th Ave Pres. (NYC) From: "Hugh Drogemuller" <lon.hdrogemuller@wwdc.com> Date: Sun, 23 Jan 2000 09:08:55 -0500   Pete Isherwood wrote: (SNIP) At any rate, the room at 5th Ave Pres. is not that big, and yet the organ seems massive, at least from the console. I didn't get to hear it, but I did go up and checkout = the console. It has 4 32's and a battery of solo reeds, and a Wicks console. I =   was curious who the original builder was, if everything is indeed real pipework, and what is the program like at that church?   I understand that Bob Walker installed a digitally sampled antiphonal division that speaks from two symetrical locations at the rear, plus a few manual voices and some voices to reinforce the existing pedal stops. This work may have included the 32' work, I don't remember all the precise = detail. This was done at the time the new Wicks console was installed. There was some revoicing done of the pipework at that time, I believe. I attended a service there in early October, the Choir sung very well under the direction of Dr. Richard Westenberg. The organist was Terry Flanagan who played very nicely.   HD    
(back) Subject: Re: Music Request From: <RMaryman@aol.com> Date: Sun, 23 Jan 2000 13:26:51 EST   In a message dated 00-01-21 16:19:30 EST, you write:   << Are the Bossi pieces in print? If so, by whom. >> I have a book of Bossi compostions published by Ed. Peters. I understand that they are still available.   Rick Maryman Staunton VA  
(back) Subject: Re: Crescendo pedal order? From: <RMaryman@aol.com> Date: Sun, 23 Jan 2000 13:51:13 EST   In a message dated 00-01-22 13:07:25 EST, you write:   << I'm looking for "programming" the order of stops in a crescendo pedal. Logic says to go from the quietest to the loudest in adding stops, but = that may not be common practice. Anybody know? TIA. --Shirley >> Shirley -   In the times that I have programmed the creschendo order for the rebuild/restorations I have done I usually bring on the unison to = great/choir (depending on the instrument's size) then softest to loudest strings, = flutes, principals (not mixtures yet) then the non-unison couplers, soft reeds, mixtures (on great) and then loudest reeds. I save the non-great mixtures for the tutti along with any "party-horn" = type stops and sometimes the sub-unison couplers depending on their effect/availability.   hope this helps.   Rick M  
(back) Subject: Re: Crescendo pedal order? From: "Nelson And Tracy Denton" <ndenton@cgocable.net> Date: Sun, 23 Jan 2000 13:58:46 -0500   We generally set up our crescendo pedals by first holding a different = note on each manual C-e-g-c and then slowly add each rank in one by one from softest to loudest. By experimentation you can get a gradual build up to full organ. The point in holding a different key on each manual is that = you get the the effects of couplers and divisional balance much more clearly. Once this is done you can then wire in or set your pedal as you like it.   We avoid adding celestes, chimes, heavy sub couplers, untunable reeds, and some others stops to the order as requested by the organist.   Sadly many church organists we find are of the "Crescendo Pumper" variety and too many pump the Crescendo pedal in time with the music.   I've often found the Crescendo pedal's rubber treads far more worn then = the Swell pedal!! Several old timers have told me that this was WurliTzers reason for not adding Crescendo pedals to their organs.    
(back) Subject: National Shrine Director Position Open- NOT! From: <ScottFop@aol.com> Date: Sun, 23 Jan 2000 14:19:40 EST   Ladies and gentlemen, friends and colleagues,   I write you today to inform that my position, the Director of Music and Liturgical Coordination at the National Shrine of the Little Flower in = Royal Oak, Michigan is NOT open and is NOT vacant. Recent rumors that have literally flooded telephone lines in the Detroit metropolitan area state = that   A) I am unhappy at Shrine B) I have resigned C) I have already left   As of yesterday morning these rumors had gotten to the point that I felt = it necessary to inform Monsignor, the Pastor, about the rumor. When I spoke with him and told him that it had been said that I had already left, he chuckled, raised his eyebrows and said "Oh? Am I looking for a new = organist?"   We are acutely aware of at least two of the sources of these rumors. It = is sad when certain individuals act irresponsibly, unprofessionally and maliciously in an effort cause problems for others, especially when these individuals all work within the realm of church music.   Please know that the rumors of my leaving Shrine as the Organist and = Director of Liturgical Coordination are NOT true. We are planning for the rededication of the Grand Kilgen organ, we are taking the Parish Choir to Rome in January 2001 to sing for His Holiness (by invitation) and we are moving ahead with the recent acquisition of our new Liturgical Music Assistant to continue building a premier music program for our Parish.   Thank you for your attention.   Scott F. Foppiano, Director of Music and Liturgical Coordination, National Shrine of the Little Flower, Royal Oak, MI  
(back) Subject: Stoplist for crescendo pedal programming, Pt. I From: "Shirley" <pnst@snip.net> Date: Sun, 23 Jan 2000 14:56:33 -0500   Folks, if this looks strange, or if it has HTML handles all over it, please forgive. I copied it off of a website of a list where I originally posted= it.   If it's unreadable, please do let me know, and I'll edit it.   Also, to see more about the organ, including pix, go to http://www.libertynet.org/apcusa/organ.html=20   My thanks to Pete Pocock for his permission to use the background found on his homepage. =09 --Shirley     Subject: STOP LIST: Abington Presbyterian Church (Part I)   OK, folks, here is the typed-by-hand stop list for Abington Presbyterian Church, M. P. Moller, opus 10551 (1969); restoration by Advanced Design Pipe Organs (1996).   I'm sending it in two parts. Here's Part the First:   Pedalwerk - 32 Prinzipal (Walker elec.) 32 Untersatz (Walker elec.) 16 Geigenprinzipal 16 Geigen (hauptwerk) 16 Bourdon 16 Gedeckt (r=E9cit) 16 Antiphonal Gedeckt 8 Oktav 8 Gedeckt (ext) 8 Flute (r=E9cit) 4 Oktav 4 Nachthorn 2 Nachthorn (ext) Muxtur II Scharff II 32 Harmonics IV 32 Contre bombarde (Walker elec.) 16 Posaune 16 Bassoon (r=E9cit) 8 Festlich Trompete (Chorwerk) 8 Trompete (ext) 8 Bassoon (R=E9cit) 4 Oktav trompete (ext) 4 Bassoon (R=E9cit) Chimes=20 MIDI (Not yet hooked up)   HAUPTWERK (Great) - 16 Geigenprinzipal 8 Prinzipal 8 Geigen (ext) 8 Gedeckt 8 Holzbordun (ped; incomplete compass) 4 Oktav 4 Spitzflote 2 Super Oktav Mixtur IV 8 Posaune (Ped; incomplete compass) 8 Festlich Trompete (Chorwerk) Couplers: Sub, super, unison off Chimes Carillon (from one of those old Schulmerich units) MIDI (Not yet hooked up)   R=E9cit (Swell) 16 Bourdon a chemin=E9es 8 Montre (wish list) 8 Flute a chemin=E9es (ext) 8 Viole de gambe 8 Viole celeste 4 Montre 4 Flute harmonique 2 2/3 Nazard (ext) (incomplete compass) 2 Flute a bec 1 3/5 Tierce (ext) (Incomplete compass) Fourniture IV 16 Posaune (ped) (Fanfare division - couples separately from the R=E9cit) 16 Festlich trompete (chorwerk) (Fanfare division) 16 Bassoon (Fanfare division) 8 Posaune (ped) (Incomplete compass; fanfare division) 8 Festlich trompete (chorwerk) (Fanfare division) 8 Trompette (chorwerk) (Fanfare division) 8 Hautbois (ext) (Fanfare division) 8 Vox humaine (wish list) 4 Clarion (Fanfare division) tremulant Couplers: Sub, super, unison off, fanfare super, fanfare unison off Chimes Carillon MIDI (not yet connected)   to be continued..........      
(back) Subject: Stoplist for crescendo pedal programming, Pt. 2 From: "Shirley" <pnst@snip.net> Date: Sun, 23 Jan 2000 14:56:01 -0500   .............. continuing (and sending my spell checker into a tizzy)............     Positivwerk (floats.... can be coupled to any manual) 16 Subprinzipal (ped) 8 Prinzipal (ped) 8 Gedeckt 4 Prinzipal 4 Rohrflote 2 2/3 Nasat 2 Oktav 1 3/5 Terz 1 1/3 Auint 1 Super oktave Zimbel II Tremulant Zimbelstern (there is also a thumb piston for this under the R=E9cit= manual, and a toe stud)     Chorwerk (Choir) 16 Gambe (wish list) 8 Nachthorn (ped) 8 Gambe (wish list) 8 Gambe Celeste (wish list) 8 Dolzflote 8 Dolzflute celeste 4 Gambe (wish list) 4 Flachflote 2 Spitzprinzipal Mixtur II 16 Festlich trompete (ext) 8 Festlich Trompete 8 Krummhorn 4 Festlich trompete (ext) Tremulant Couplers: Sub, Super, Unison Off Chimes Carillon MIDI (wish list)   Antiphonal (chamber is at rear of sanctuary; stops can be coupled to any manual) 8 Prinzipal (wish list) 8 Gedeckt 4 Oktav 4 Flote (wish list) 2 Flote (wish list) Mistur III-IV 8 Trumpet-en-chamade (wish list)   Couplers 8, 4 Hw on Ped 8, 4 R=E9cit on Ped 8, 4 Ch on Ped 8, 4 Fanfare on Ped 8 Pos on Ped 8 Ant on Ped 16, 8, 4 R=E9cit on Hw 16, 8, 4 Ch on Hw 16, 8 Pos on Hw 8, 4 Fanf on Hw 8, 4 Ant on Hw 16, 8, 4 R=E9cit on Ch 16, 8 Pos on Ch 8, 4 Fanfare on Ch 8 Ant on Ch 16, 8 Pos on R=E9cit 8 Ant on R=E9cit   End of stop list. =20  
(back) Subject: Re: National Shrine Director Position Open- NOT! From: "Bob Scarborough" <desertbob@rglobal.net> Date: Sun, 23 Jan 2000 15:13:06   At 02:19 PM 1/23/2000 EST, you wrote:   >We are acutely aware of at least two of the sources of these rumors. It = is >sad when certain individuals act irresponsibly, unprofessionally and >maliciously in an effort cause problems for others, especially when these =   >individuals all work within the realm of church music.<snip>   All of which is why the "church music" field, and with it, the organ = field, is considered by many to be a veritable "snake pit". Behavioral drivers for such misdeeds can only be inflamed ego, greed and jealousy. Scott's work at the Shrine and with its Grande Kilgen are known nationwide and should command the utmost in respect and admiration. Such work should be judged as especially fine, when considering the overall state of what passes for "music" in more mundane RC settings. When such rumors as these are heard, one should reflect upon the source's reliability first, and then, hopefully, will check its veracity and prevent the viciousness from spreading further. The reported "flood" of telephone calls tells me that there are even more eager receptors for such tawdry gossip than there are generators! Get a grip, people. Can we at least *attempt* some level of class and honor??   DeserTBoB  
(back) Subject: Re: National Shrine Director Position Open- NOT! From: <JDeCaria@aol.com> Date: Sun, 23 Jan 2000 19:07:10 EST   I agree 150% with DeserTBoB. I have noticed a general lack of common = decency among those in the North American organ world. I have seen back-stabbing, witnessed unprofessional conduct, and heard vicious rumors (truthful or = not) fly. This doesn't seem to be confined to organists; indeed in my = experience it extends to all levels of organ related business.   Ours is a centuries old profession, and its aims are among the most noble = - to use our talents to lift the spirit, and provide wings of song for the soul. I for one am saddened and angered by the actions of those who would debase our profession and its long and glorious history by petty, = immature, and ignoble words and actions. SHAME   Joseph DeCaria Royal Conservatory of Music, Toronto  
(back) Subject: Music of Henry Smart From: <DRAWKNOB@aol.com> Date: Sun, 23 Jan 2000 20:03:26 EST   Hello everyone!   I am looking for any organ music of Henry Smart (which is still in print) = and I am running up against a brick wall.   In particular I would like to find Smart's Postlude in D Major and his = Grand Solemn March.   Does anyone have any ideas?   Thanks,   John  
(back) Subject: Mystery (to me) organ-orchestra piece From: <JKVDP@aol.com> Date: Sun, 23 Jan 2000 21:21:43 EST   On Friday, Classic KING FM Seattle played a work that was completely new = to me. Max Bruch's "Suite for Orchestra and Organ" seemed to be a very = serious, but one I would like to hear again. The Organist was not mentioned, but = the orchestra was listed as the Tubingen Aerzteorchestra. Does anyone know anything about this work? Jerry in Seattle  
(back) Subject: Re: National Shrine Director Position Open- NOT! From: <Innkawgneeto@webtv.net> Date: Sun, 23 Jan 2000 21:49:41 -0500 (EST)   Not knowing the who's or the what's, I can only say that it is my desire (and mission) to see that we put "professionalism" back into our profession, treating it as a sacred trust. Don't we have anything better to do than cause one of our esteemed colleagues to go about extinguishing fires he didn't set? Sorry to vent, but it's this kind of stuff that makes my blood boil.   Neil by the Frozen Bay    
(back) Subject: Re: Music of Henry Smart From: "Hugh Drogemuller" <lon.hdrogemuller@wwdc.com> Date: Sun, 23 Jan 2000 22:16:26 -0500   John wrote: I am looking for any organ music of Henry Smart (which is still in print) = and I am running up against a brick wall.   John:   go to <www.allegro.co.uk> , work your way through the various "tabs" and you will find three Smart compositions listed including the Postlude in D. I believe you can mail order from them. They also have a large selection of Schott published material in reprint form.   HD    
(back) Subject: Re: Music of Henry Smart From: "John L. Speller" <jlspeller@stlnet.com> Date: Sun, 23 Jan 2000 21:33:43 -0600   Hugh Drogemuller wrote: > > John wrote: > I am looking for any organ music of Henry Smart (which is still in = print) and > I am running up against a brick wall. > > John: > > go to <www.allegro.co.uk> , work your way through the various "tabs" and > you will find three Smart compositions listed including the Postlude in = D. > I believe you can mail order from them. They also have a large = selection > of Schott published material in reprint form.   Allegro Music also have a U.S. representative -- Magna Music with e-mail address <www.magnamusic.com>   John Speller  
(back) Subject: Re: Crescendo pedal order? From: <NFexec@aol.com> Date: Sun, 23 Jan 2000 23:47:33 EST   In a message dated 1/23/2000 1:57:38 PM Eastern Standard Time, ndenton@cgocable.net writes:   << I've often found the Crescendo pedal's rubber treads far more worn then = the Swell pedal!! Several old timers have told me that this was WurliTzers reason for not adding Crescendo pedals to their organs. >>   AHEM!..... Sorry... except for their smaller instruments, Wurlitzer always =   equipped their organs with crescendo pedals!   Doug  
(back) Subject: Re: Music of Henry Smart From: "Roger Brown" <robrown@free.net.au> Date: Mon, 24 Jan 2000 18:23:49 +1100   DRAWKNOB@aol.com wrote: >   > In particular I would like to find Smart's Postlude in D Major and his = Grand > Solemn March. >   Smart's D Major postlude has been republished by Oecumuse (51 Eleanor Rd London) in a quite strange (but not impracticable) edition on loose leaf card in a plastic sleeve.   Roger  
(back) Subject: Re: Edward Shippen Barnes: Solemn Prelude From: "Bob Scarborough" <desertbob@rglobal.net> Date: Mon, 24 Jan 2000 00:32:32   At 02:30 PM 1/22/2000 -0400, you wrote: > > Just curious: I'm playing the Barnes "Solemn Prelude" tomorrow. Does anyone else play this piece these days?   I have it, but haven't played it (or much of anything else) in awhile!   DeserTBoB  
(back) Subject: Re: Music of Henry Smart From: "Chris Baker" <cembalist@chorale.demon.co.uk> Date: Mon, 24 Jan 2000 09:02:12 +0000   > Smart's Postlude in D Major and his Grand >> Solemn March. >> > >Smart's D Major postlude has been republished by Oecumuse (51 Eleanor Rd >London) in a quite strange (but not impracticable) edition on loose leaf >card in a plastic sleeve.   The RSCM catalogue contains the following by Smart; Andante 1 in A Andante 2 in F Andante 3 in C Andante Grazioso in G Festive March in D March in G Postlude in D (2) Prelude in Eb Six Short and Easy pieces Twelve Short and Easy Pieces   Cheers Chris Baker  
(back) Subject: Re: Crescendo pedal order? From: "Jon C. Habermaas" <opus1100@theatreorgans.com> Date: Mon, 24 Jan 2000 09:05:44 -0600   For something that apparantly nobody thinks get used much,,, the crescendo pedal has certainly generated quite a bit of discussion....When I was working for the organ service we got a trouble call from an organist claiming that the organ was hexed.. it roared at her for no apparant reason. We asked her to be there so she could show us what was happening....and guess what.. instead of pumping the swell pedal...she was on the crescendo.   jchj --