PipeChat Digest #2311 - Tuesday, August 14, 2001
 
Re: Yet more Courboin(Shorter)
  by <RonSeverin@aol.com>
Re: Allegro - Part 1(short and sweet)
  by <RonSeverin@aol.com>
Allegro - part 2
  by "John Vanderlee" <jovanderlee@vassar.edu>
NYC recital Thu. Aug. 16
  by "Jonathan B. Hall" <jonahall@indiana.edu>
Re: Allegro - part 2
  by <AMADPoet@aol.com>
Re: Allegro - Part 1
  by <Cremona502@cs.com>
Re: Allegro - composers too?
  by "John Vanderlee" <jovanderlee@vassar.edu>
RE: Allegro ma troppo
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: Allegro ma troppo
  by "John Vanderlee" <jovanderlee@vassar.edu>
Re: Charles M. Courboin and pedaling
  by "r_ehrh" <r_ehrh@bellsouth.net>
Allegro and Saint Tobias
  by "Randolph Runyon" <runyonr@muohio.edu>
Re: Allegro and Saint Tobias
  by "John Vanderlee" <jovanderlee@vassar.edu>
Re: Allegro and Saint Tobias
  by "Paul R. Swank" <prswank@surfbest.net>
Re: Allegro and Saint Tobias
  by "Randolph Runyon" <runyonr@muohio.edu>
Thanks [was Adjustable benches]
  by "Joe Karashani" <jtkarash@copperNET.zm>
Re: Yet more Courboin(Short)
  by "John L. Speller" <jlspeller@mindspring.com>
Re: Allegro and Saint Tobias
  by "Paul R. Swank" <prswank@surfbest.net>
Re: Thanks [was Adjustable benches]
  by "John L. Speller" <jlspeller@mindspring.com>
Cleveland Public Hall
  by "Mike Gettelman" <mike3247@earthlink.net>
 

(back) Subject: Re: Yet more Courboin(Shorter) From: <RonSeverin@aol.com> Date: Tue, 14 Aug 2001 14:22:18 EDT   Robert:   Charles was known when playing Fugues to sometimes thumb a third manual on contrasting stops to bring out all the inner voices. He could do this on the fly. Fred Swann knows first hand, because he saw him do it! The overhang and inclination of the manuals at the time made this a bit easier than the more modern manuals with almost no incline or overhang made today. I wish builders would go back to sever inclination and overhang of manuals. They were much easier to play.   On a four or five manual organ, the choir was angled slightly down, the great was dead on, the Swell was angled upward, solo even more, and the fifth manual even more. The manuals were physically closer together and much easier to reach and handle. The tracker thing destroyed that! Pictures of Wanamaker's, Atlantic City, the old stop key console from St. Pat's all attest to the gymnastics that were possible then. Even Felix could reach manual 7 at Atlantic City comfortably. I hope Y'all are listening organ builders. WAKE UP CALL!   Ron Severin  
(back) Subject: Re: Allegro - Part 1(short and sweet) From: <RonSeverin@aol.com> Date: Tue, 14 Aug 2001 14:35:48 EDT   Hi John:   Good story so far so good! Some people obviously have nothing better to do than criticize and nit pick. Get out the old Song: O Come let us Ignore them, O Come let us Ignore them.......... You did say it was FICTION and that should be sufficient. There are probably several places on earth called Kingston. The Brit's were everywhere at one time or another! :) LIGHTEN UP! It's only fiction! I want to read the rest of = the story with out further commercial interuptions!   Thankyew!   Ron Severin  
(back) Subject: Allegro - part 2 From: "John Vanderlee" <jovanderlee@vassar.edu> Date: Tue, 14 Aug 2001 14:46:46 -0700   I'm enjoying the commentary, so here's part 2 ****************************   With a deliberate and unwritten retard on the final phrase, which allowed for some dazzling ornamentation, underscored by a thundering reed stop in the low register, Jeremy finished the "Te Deum". He lifted his hands in slow motion as the final notes reverberated under the ancient arches and drifted off into acoustic decay.   "I don't think Charpentier wrote all of those notes." Startled, Jeremy turned around to stare into Samantha's grinning face. Sunlight through stained glass brightened her features with an ethereal glow. Her smile radiated and he was mesmerized,,,. Feelings stirred.... ; feelings Jeremy really wanted to repress, and he forced a quick smile. "Do you think he would approve?" he countered, recomposing himself. "Of course!" she laughed, "Wasn't it Duke Ellington who said: "If it sounds good, it is good?" He nodded, his lips clenched a little too much, and drew a deep breath. "Hey, why so serious?" She placed her hands on his shoulders, "Hmmm?" and peered mock-serious deeply into his eyes. The feeling was not to be denied. He shrugged and forced a laugh: "You're my worst critic. But at least you're the best looking one." He really had not meant to verbalize that last part, but it fueled a glow in her eyes. Brusquely, he shook off her arms and turned toward the organ console again where he cancelled the stops, shut off the electricity, and began closing the roll-top. "Jeremy!" she exclaimed, somewhat taken aback, "what's this all about?" Her voice sounded puzzled, the smile fading. He met her eyes with discomfort and then looked away. "I'm sorry, I mean....I guess I shouldn't act like that; finals you know? The Charpentier was my little escape.... Kinda like ignoring the present, you know?.... " he trailed of as if searching for words, looking down the nave as if for an answer. Then, resolutely he turned around to face her again: "I'm doing lousy in composition." Samantha sensed a circumvention. She tried to read his eyes, and was silent. She stepped away from him as if ready to leave but then suddenly faced him. "No, Jeremy," she said with concern, "I don't think it's just finals,... or composition.....There's other stuff. Tell me Jeremy! What is it?!"  
(back) Subject: NYC recital Thu. Aug. 16 From: "Jonathan B. Hall" <jonahall@indiana.edu> Date: Tue, 14 Aug 2001 13:56:02 -0500 (EST)     Me again--   Our summer organ recital series at the Church of the Epiphany continues this Thursday, August 16, from 12:15 to 12:45 PM. I shall be playing   First Sonata (Symphonie) in d minor, opus 42, Alexandre Guilmant.   i. introduction et allegro ii. pastorale iii. final     We're at 1393 York Ave. on the corner of E. 74th St. in Manhattan. Our website is www.epiphanynyc.org, and you can call 212-737-2720 x 24 for more information. You may bring lunch into the church, and there are many choices for take-out in the immediate area.   Best wishes,   Jonathan B. Hall    
(back) Subject: Re: Allegro - part 2 From: <AMADPoet@aol.com> Date: Tue, 14 Aug 2001 15:44:21 EDT   In a message dated 8/14/01 1:47:41 PM Central Daylight Time, jovanderlee@vassar.edu writes:   << retard >>   hehe, I realize "to retard" is to slow down, but you might use the musical =   spelling of this word to save confusion. ;o)   I don't want to tell you something you know already, and I don't know how serious you are about writing, but if you haven't you should get your wife = or someone you trust to proofread your work as you revise. It saves a lot of frustration. I've done my share of writing in the past, and one of the = great problems is being so immersed in the work that you start to miss little mistakes, like changes in tense and "from" instead of "form" or vice versa = (a common mistake I make). Not saying your story has mistakes, just speaking generally. Everyone is different, but I tend to rewrite a story or poem = ten to twelve times on average, so you can understand that the words start = going over my head after reading a work thirty times. ;o)   Funny thing is, revision is the best part sometimes. Apart from hitting = the point that you know you can stop, hehe. Enjoy it, and don't question what = you are or are not "qualified" to write- you wouldn't have written the story = this way if you weren't qualified to do so. At least, that's how I see things = when I write.   Mandy  
(back) Subject: Re: Allegro - Part 1 From: <Cremona502@cs.com> Date: Tue, 14 Aug 2001 15:59:24 EDT     --part1_7c.1a13ac19.28aadd1c_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 8/14/01 12:52:34 PM Eastern Daylight Time, conwayb@sympatico.ca writes:     > I rather think that this City of Kingston in the narrative is only in = the > author's head, - for it certainly doesn't seem to be at all like the > Kingston where I reside! >   That's why we call it fiction, Bob!! The neatest thing about being a writer is that cities, people, building, and even organs, can be exactly = as you want them! I love it!!!   More, please!   Bruce Cornely ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Duncan, Miles, Molly, and Dewi Visit Howling Acres at http://members.tripod.com/Brucon502/   --part1_7c.1a13ac19.28aadd1c_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>In a message dated = 8/14/01 12:52:34 PM Eastern Daylight Time, <BR>conwayb@sympatico.ca writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I rather think = that this City of Kingston in the narrative is only in the <BR>author's head, - for it certainly doesn't seem to be at all like the <BR>Kingston where I reside! <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D3 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0"> <BR>That's why we call it fiction, Bob!! &nbsp;&nbsp;&nbsp;The neatest = thing about being a <BR>writer is that cities, people, building, and even organs, can be = exactly as <BR>you want them! &nbsp;&nbsp;&nbsp;I love it!!! <BR> <BR>More, please! <BR> <BR>Bruce Cornely &nbsp;&nbsp;&nbsp;&nbsp;~ &nbsp;Cremona502@cs.com &nbsp; <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR> &nbsp;&nbsp;&nbsp;&nbsp;Duncan, Miles, Molly, and Dewi <BR>Visit Howling Acres at = &nbsp;&nbsp;http://members.tripod.com/Brucon502/</FONT></HTML>   --part1_7c.1a13ac19.28aadd1c_boundary--  
(back) Subject: Re: Allegro - composers too? From: "John Vanderlee" <jovanderlee@vassar.edu> Date: Tue, 14 Aug 2001 16:09:11 -0700   >In a message dated 8/14/01 1:47:41 PM Central Daylight Time, >jovanderlee@vassar.edu writes: > ><< retard >> > >hehe, I realize "to retard" is to slow down, but you might use the = musical >spelling of this word to save confusion. ;o)   Ok give me the musical spelling! And you are right in your following comments. I know most of it, but in truth this story lay "fallow" for two years; you won't believe how much I changed already. Does the same idea hold true for the composers among us?   > >I don't want to tell you something you know already, and I don't know how >serious you are about writing, but if you haven't you should get your = wife or >someone you trust to proofread your work as you revise. It saves a lot of >frustration. I've done my share of writing in the past, and one of the = great >problems is being so immersed in the work that you start to miss little >mistakes, like changes in tense and "from" instead of "form" or vice = versa (a >common mistake I make). Not saying your story has mistakes, just speaking >generally. Everyone is different, but I tend to rewrite a story or poem = ten >to twelve times on average, so you can understand that the words start = going >over my head after reading a work thirty times. ;o) > >Funny thing is, revision is the best part sometimes. Apart from hitting = the >point that you know you can stop, hehe. Enjoy it, and don't question what = you >are or are not "qualified" to write- you wouldn't have written the story = this >way if you weren't qualified to do so. At least, that's how I see things = when >I write. > >Mandy > >"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: Allegro ma troppo From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Tue, 14 Aug 2001 16:12:34 -0400   ritardando  
(back) Subject: RE: Allegro ma troppo From: "John Vanderlee" <jovanderlee@vassar.edu> Date: Tue, 14 Aug 2001 16:19:05 -0700   >ritardando   Thank you! (see that's what I need!)   John V > >"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: Charles M. Courboin and pedaling From: "r_ehrh" <r_ehrh@bellsouth.net> Date: Tue, 14 Aug 2001 15:40:22 -0500   ----- Original Message ----- From: alpat5 <alpat5@bellatlantic.net> To: <pipechat@pipechat.org> Sent: Tuesday, August 14, 2001 8:49 AM Subject: Charles M. Courboin and pedaling     > pedaling controversy he states, "....Some schools of thought hold that > the knees should always be kept together. I do not agree with this--for the reason that > such a posture is not natural, and hence works against the very = relaxation which is so vital > to good playing . It is my belief that the best results are obtained = when the knees are not > 'held' or kept in any fixed posture, but allowed to move freely (as in walking) so that they are at all times over > the note which is being played. Certainly, this requires a bit more > moving about, but it is a natural motion and thus conducive to greater > ease in playing. You will find, as I have found, that by allowing the > knees to move to a point over which the note is being played, by keeping > the leg relaxed, and by turning the foot in the natural toes-out walking > position, you will greatly enhance the ease of your playing and minimize > the risk of unnatural tension.   This is what Virgil taught his students, and we all know what kind of = pedal technique he had.   Robert E.      
(back) Subject: Allegro and Saint Tobias From: "Randolph Runyon" <runyonr@muohio.edu> Date: Tue, 14 Aug 2001 16:58:09 -0400   on 8/14/01 12:52 PM, Bob Conway at conwayb@sympatico.ca wrote:   > At 11:46 AM 8/14/01 -0700, you wrote: >> Allegro >> >> "As you depart this House of the Lord our God", intoned the >> priest, "may the Lord bless you and keep you, in His Holy >> Name.......... Amen." >> "Amen", repeated Samantha as she opened her eyes and looked >> toward the chancel where Jeremy sat at the organ console of St. Tobias' >> cathedral in Kingston. > > John and list members. > > I rather think that this City of Kingston in the narrative is only in = the > author's head, - for it certainly doesn't seem to be at all like the > Kingston where I reside!     I think the "St. Tobias" appelation is a subtle hint that this is not a totally verisimilitudian tale. Is there a saint by that name in the Christian calendar? Not according to the list published at http://www.catholic.org/saints/stsindex.html     The only Tobias I know of was an apocryphal amateur grave-digger who went blind because bird doo-doo dropped into his eyes as he lay sleeping.   I'm not kidding.     Randy Runyon Music Director Zion Lutheran Church Hamilton, Ohio runyonr@muohio.edu      
(back) Subject: Re: Allegro and Saint Tobias From: "John Vanderlee" <jovanderlee@vassar.edu> Date: Tue, 14 Aug 2001 17:11:37 -0700   > > > >I think the "St. Tobias" appelation is a subtle hint that this is not a >totally verisimilitudian tale.   you're right! It's a totally fictional tale.     >Is there a saint by that name in the >Christian calendar? Not according to the list published at >http://www.catholic.org/saints/stsindex.html   So why not a ficticious Saint? "names have been changed to protect the innocent"..   > > >The only Tobias I know of was an apocryphal amateur grave-digger who went >blind because bird doo-doo dropped into his eyes as he lay sleeping. > >I'm not kidding.   See what I'm learning?   John V   >     --  
(back) Subject: Re: Allegro and Saint Tobias From: "Paul R. Swank" <prswank@surfbest.net> Date: Tue, 14 Aug 2001 17:33:45 -0700   The computer and the Internet are amazing things, but also very powerful.   There is a Saint Tobias listed as the alternate patron saint (with Saint Sebastian) of a very strange group of Italians.   Read down into the text at:   <http://www.mega.it/eng/equi/monu/bud.htm>     It wonderful what the Allegro story is getting us to do...     Paul R. Swank Awaiting the next part of Allegro    
(back) Subject: Re: Allegro and Saint Tobias From: "Randolph Runyon" <runyonr@muohio.edu> Date: Tue, 14 Aug 2001 17:50:46 -0400   on 8/14/01 8:33 PM, Paul R. Swank at prswank@surfbest.net wrote:   > The computer and the Internet are amazing things, but also very = powerful. > > There is a Saint Tobias listed as the alternate patron saint (with Saint > Sebastian) of a very strange group of Italians. > > Read down into the text at: > > <http://www.mega.it/eng/equi/monu/bud.htm>   Are you sure that's the right address? I tried it but couldn't get it to work.   I did find mention of a Saint Tobias at http://www.themiracleofstjoseph.org/revs/r000417a.htm but only in the title, nothing in the body of the text.     Randy Runyon Music Director Zion Lutheran Church Hamilton, Ohio runyonr@muohio.edu      
(back) Subject: Thanks [was Adjustable benches] From: "Joe Karashani" <jtkarash@copperNET.zm> Date: Wed, 15 Aug 2001 01:21:58 +0200   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0055_01C12528.AD930EA0 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   Many thanks to all those who responded to my post and gave valuable =3D suggestions. I think I will go ahead and try to reduce the height of =3D the bench (from the top) and have a few suitable blocks made. I have =3D also been able to visit BIOS and DBOB which are very informative = sites.=3D20   Cremona502@cs.com wrote:=3D20 <This would be a permanent solution (unless you grow)> (snip) alas, that is unlikely :-)   <Could you share the stoplist of the organ? Photographs?>=3D20   Here is the stoplist:   Anglican Cathedral of the Holy Cross, Lusaka, Zambia. C. Lloyd & Co. of Nottingham ca.1884.   2 Manuals and Pedals/ 25 Stops/ 28 Ranks/ 1526 Pipes Compass: Manuals CC - g3 (56 notes); Pedals CCC - F2 (30 notes)   GREAT ORGAN=3D20 1 Open Diapason 8 2 Clarabella 8 3 Lieblich Gedackt 8 4 Dulciana 8 5 Principal 4 6 Flute Harmonique 4 7 Twelfth 2 2/3 8 Piccolo 2 9 Mixture (19:22:26:29) IV 10 Trumpet 8 Fa=3DE7ade (12 pipes)   SWELL ORGAN 11 Lieblich Bourdon 16 12 Violin Diapason 8 13 Stopped Diapason 8 14 Keraulophon 8 15 Voix Celestes 8 16 Gemshorn 4 17 Fifteenth 2 18 Mixture (17:19:22) III 19 Horn 8 20 Oboe 8   PEDAL ORGAN 21 Open Diapason 16 22 Subbass 16 23 Bass Octave (extn of 21) 8 24 Bass Flute (extn of 22) 8 25 Trombone 16   COUPLERS Swell SuperOct Swell SubOct Swell/Great Swell/Pedal Great/Pedal No registration aids=3D20   ACTION Tracker to Manuals and Draw-Stops Electropneumatic to Pedals   DESIGN Swell Box behind Great Pedal pipes on either side Trombone at the rear Wind: 4"; Trombone 6 1/2". The tuning is quite sharp, about A=3D3D446 in ET.   Sorry I do not have suitable photographs at the moment; will organize =3D and send privately.   Joe Karashani       ------=3D_NextPart_000_0055_01C12528.AD930EA0 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 5.00.2614.3500" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#a6caf0> <DIV><FONT color=3D3D#800000>Many thanks to all those who responded to my = =3D post and=3D20 gave valuable suggestions.&nbsp; I think I will go ahead and try to =3D reduce the=3D20 height of the bench (from the top) and have a few suitable blocks =3D made.&nbsp; I=3D20 have also been able to visit BIOS and DBOB which are very informative =3D sites.=3D20 </FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT color=3D3D#800000><A=3D20 href=3D3D"mailto:Cremona502@cs.com">Cremona502@cs.com</A> wrote: =3D <BR>&lt;This would=3D20 be a permanent solution (unless you grow)&gt; (snip)<BR>alas, that is =3D unlikely=3D20 :-)</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT color=3D3D#800000>&lt;Could you share the stoplist of the =3D organ?&nbsp;=3D20 Photographs?&gt; </FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT color=3D3D#800000>Here is the stoplist:</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT color=3D3D#800000>Anglican Cathedral of the Holy Cross, Lusaka, = =3D   Zambia.<BR>C. Lloyd &amp; Co. of Nottingham ca.1884.</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT color=3D3D#800000>2 Manuals and Pedals/ 25 Stops/ 28 Ranks/ =3D 1526=3D20 Pipes<BR>Compass: Manuals CC - g3 (56 notes); Pedals CCC - F2 (30=3D20 notes)</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT color=3D3D#800000>GREAT ORGAN <BR>1&nbsp; Open=3D20 Diapason&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 8<BR>2&nbsp;=3D20 Clarabella&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; =3D 8<BR>3&nbsp;=3D20 Lieblich Gedackt&nbsp;&nbsp;&nbsp; 8<BR>4&nbsp;=3D20 Dulciana&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp= =3D ;=3D20 8<BR>5&nbsp;=3D20 Principal&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=3D20 4<BR>6&nbsp; Flute Harmonique&nbsp;&nbsp;&nbsp; 4<BR>7&nbsp;=3D20 Twelfth&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= =3D &nbsp;=3D20 2 2/3<BR>8&nbsp;=3D20 Piccolo&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= =3D &nbsp;=3D20 2<BR>9&nbsp; Mixture (19:22:26:29) IV<BR>10=3D20 Trumpet&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= =3D &nbsp;=3D20 8<BR>&nbsp;&nbsp; =3D Fa=3DE7ade&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (12=3D20 pipes)</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT color=3D3D#800000>SWELL ORGAN<BR>11 Lieblich =3D Bourdon&nbsp;&nbsp; 16<BR>12=3D20 Violin Diapason&nbsp;&nbsp;&nbsp;&nbsp; 8<BR>13 Stopped=3D20 Diapason&nbsp;&nbsp;&nbsp; 8<BR>14=3D20 Keraulophon&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 8<BR>15 Voix = =3D   Celestes&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 8<BR>16=3D20 Gemshorn&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp= =3D ;=3D20 4<BR>17 =3D Fifteenth&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=3D20 2<BR>18 Mixture (17:19:22)&nbsp; III<BR>19=3D20 Horn&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= =3D sp;&nbsp;&nbsp;&nbsp;=3D20 8<BR>20=3D20 Oboe&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= =3D sp;&nbsp;&nbsp;&nbsp;=3D20 8</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT color=3D3D#800000>PEDAL ORGAN<BR>21 Open=3D20 Diapason&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; =3D 16<BR>22=3D20 Subbass&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= =3D &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=3D20 16<BR>23 Bass Octave (extn of 21) 8<BR>24 Bass Flute (extn of 22)&nbsp; = =3D 8<BR>25=3D20 Trombone&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp= =3D ;&nbsp;&nbsp;&nbsp;&nbsp;=3D20 16</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT color=3D3D#800000>COUPLERS<BR>Swell SuperOct<BR>Swell=3D20 SubOct<BR>Swell/Great<BR>Swell/Pedal<BR>Great/Pedal<BR>No registration =3D aids=3D20 </FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT color=3D3D#800000>ACTION<BR>Tracker to Manuals and=3D20 Draw-Stops<BR>Electropneumatic to Pedals</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT color=3D3D#800000>DESIGN<BR>Swell Box behind Great<BR>Pedal =3D pipes on=3D20 either side<BR>Trombone at the rear<BR>Wind: 4"; Trombone 6 1/2".<BR>The = =3D tuning=3D20 is quite sharp, about A=3D3D446 in ET.</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT color=3D3D#800000>Sorry I do not have suitable photographs at = =3D the moment;=3D20 will organize and send privately.</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT color=3D3D#800000>Joe Karashani</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT color=3D3D#800000></FONT>&nbsp;</DIV></BODY></HTML>   ------=3D_NextPart_000_0055_01C12528.AD930EA0--    
(back) Subject: Re: Yet more Courboin(Short) From: "John L. Speller" <jlspeller@mindspring.com> Date: Tue, 14 Aug 2001 18:51:40 -0500   <RonSeverin@aol.com> wrote: >Charles had over > 400 pieces in hand and under finger at any given time.   While as someone who generally has about 2 pieces under finger at any = given time, this seems very impressive to me, it is worth remembering that when Jeanne Demessieux made her first US tour in 1952, she had over 1,500 = pieces under finger and left all the music in France, playing everything from memory!   John Speller    
(back) Subject: Re: Allegro and Saint Tobias From: "Paul R. Swank" <prswank@surfbest.net> Date: Tue, 14 Aug 2001 20:03:27 -0700   I'll try again, it works for me.   It brings up the ArchConfraternity of the Misericordia which has as one of =   its patron saints, Saint Tobias.     <http://www.mega.it/eng/egui/monu/bud.htm>          
(back) Subject: Re: Thanks [was Adjustable benches] From: "John L. Speller" <jlspeller@mindspring.com> Date: Tue, 14 Aug 2001 19:00:09 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_00C9_01C124F3.56D161A0 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   A pitch approaching A=3D3D450 would be fairly standard for English or =3D American pipe organs built in the second half of the nineteenth century. = =3D =3D20   John Speller From: Joe Karashani wrote: The tuning is quite sharp, about A=3D3D446 in ET.   ------=3D_NextPart_000_00C9_01C124F3.56D161A0 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=3D3Dwindows-1252" =3D http-equiv=3D3DContent-Type> <META content=3D3D"MSHTML 5.00.2919.6307" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#a6caf0> <DIV><FONT face=3D3DArial size=3D3D2>A pitch approaching A=3D3D450 would = be =3D fairly standard=3D20 for English or American pipe organs built in the second half of the =3D nineteenth=3D20 century.&nbsp; </FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>John Speller</FONT></DIV> <BLOCKQUOTE=3D20 style=3D3D"BORDER-LEFT: #000000 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: = =3D 0px; PADDING-LEFT: 5px; PADDING-RIGHT: 0px"> <DIV=3D20 style=3D3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =3D black"><B>From:</B>=3D20 <A href=3D3D"mailto:jtkarash@copperNET.zm" =3D title=3D3Djtkarash@copperNET.zm>Joe=3D20 Karashani</A> <STRONG>wrote:</STRONG></DIV> <DIV><FONT color=3D3D#800000>The tuning is quite sharp, about A=3D3D446 = in =3D   ET.</FONT></DIV></BLOCKQUOTE></BODY></HTML>   ------=3D_NextPart_000_00C9_01C124F3.56D161A0--    
(back) Subject: Cleveland Public Hall From: "Mike Gettelman" <mike3247@earthlink.net> Date: Tue, 14 Aug 2001 20:24:25 -0400   Hi everyone, I posted the following message on Piporg-L a short time ago, and a suggestion was made that this list might have some people who know this organ too. So please forgive the unannounced cross-post.   I read an interesting article in the Cleveland Plain Dealer this weekend about a large pipe organ that has been quietly residing at the Cleveland Public Hall, but has not been played regularly since 1950. The   author said the instrument is 91 years of age. The article gave no name of builder or specification, but did say it had 10,042 pipes. There was a picture of the manuals, and there are at least 4 and possibly 5. An organ tech named George Krejci was named as the person responsible for the operation of the organ, which was indeed played in June for a Unitarian Universalists General Assembly this past June. It is said to need a complete overhaul, but still plays quite nicely despite its deteriorated condition. With that information, I wonder if any list members might know this organ and tell us a little more about it. It sounds like quite a substantial instrument.   Thanks Mike