PipeChat Digest #1803 - Saturday, February 3, 2001
 
Frank Bridge & Friends -CD Reveiw: X-post
  by <Cremona502@cs.com>
Re: Service or Mass Programs
  by <Cremona502@cs.com>
 

(back) Subject: Frank Bridge & Friends -CD Reveiw: X-post From: <Cremona502@cs.com> Date: Sat, 3 Feb 2001 16:36:26 EST     --part1_5b.116a02d5.27add3da_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   I have just finished listening to a new CD, "Frank Bridge & Friends," a = gift from a friend. Normally I would not buy this type of CD for myself, since = I prefer to listen to small instruments with unequal temperament in VERY reverberant rooms. However, this CD has music of Frank Bridge, Edward Bairstow, John Ireland, and William Walton on it.... all of whose music I find irresistable and suitable for Saturday nights with candles and = Merlot! The playlist is:   ++++Frank Bridge Three Pieces (1905): --Andante Moderato in c-minor --Adagio in E --Allero con Spirito in B-flat Organ Pieces, Bk 1 (1905) --Allegretto grazioso --Allegro commodo --Allegro marziale Organ Pieces, Bk II (1912) --Andante con moto --Andantino --Allegro ben moderato In Memoriam C.H.H. Parry (1918) Three Pieces (1939) --Prelude --Minuet --Processional   & FRIENDS Sir Edward Cuthbert Bairstow: Prelude in C Lord Edward Benjamin Britten: Prelude and Fugue on a Theme of Vittoria John Nicholson Ireland: Elegiac Romance Craig Sellar Lang: Tuba Tune Percy William Whitlock: After an Old French Air (Reflections, No. 1)   =3D=3D=3D=3D=3D=3D=3D=3D=3D The Bridge pieces are very well played and bring to mind my first hearing = of some of them on a disc from St. Paul's Cathedral, although I don't = remember who was playing. This organ is well-suited to English organ music and exhibits the seamless transition from colour to colour so important in = this period of music and organ building. I was fortunate to be able to make a comparison with another recording of the Bairstow Prelude in C. I have a = CD of Francis Jackson playing Bairstow's organ works at York Minster = (Bairstow's organ and acoustics). In comparison, the instruments were almost indistinguishable. I don't recall who originally built the York Minster organ, or who was responsible for the restoration/completion, but the instruments, York and St. Margaret's - Palm Desert Ca, are amazingly = similar, all the way down to the immaculately voiced and finished reeds and the singing Diapasons. The Ireland "Elegaic Romance" is just beautiful. Also, if you are a fan = of CS Lang's Tuba Tune, this one piece is worth the cost alone. Very = artistic and exciting ornamentation really bring this piece to life, and the Tuba = is just.... well, darn it... it IS!   The organ is unusual in that it appears to be a VERY large two manual - Great, Swell and Pedal, with a third manual Solo division, which is called =   "Choir". But it's like no other Choir division I've seen (see spec = below):   There is also a fourth manual for the "big gun", Chimes and Celesta = (prep); and apparently whatever your imagination can come up with (see below).   Additionally, the Quimby folks have come up with creative, practical, and musical ways to employ solid state gadgetry. The instrument shows = obvious signs of having been designed by those who actually play the organ!!   This is the kind of organ that I, as a purist, long for. It built = without compromise to do a particular job (playing romantic music and accompanying =   the Episcopal cathedral-style liturgy, although I suppose one could condescend to play Powell HC service on it!! -- oops! Couldn't resist). =   The organ offers no hat-tip to one who would want to play "all = literature"; the organ basically says, "I do this job perfectly! If you don't like it, = go play another organ!" Which is the way I like it. My only = disappointment with the design is the absence of independent 8' stops in the Pedal. = Except for the 8 Octave, all others are extensions of the five 16' stops (another = five are duplexed from the manuals); I usually find the 8' extensions to = be too large for my taste. But this is a small compromise for such an instrument, although, in reality, in a purist design it is consistent with =   the period and, therefore, NOT a compromise! Several weeks ago, I had the pleasure of spending some time at the newly refurbished 1912 Casavant in the Jacoby Symphony Hall - Jacksonville, FL, another Quimby project. There is an unmistakable similarity between = these two instruments: the lush warm sounds of authentic romantic voicing preserved and created! This makes me even more excited to hear the = Casavant reeds when they are in.   Todd Wilson's playing is typically wonderful and colourful. I would = really like to hear some improvisation on this instrument that would demonstrate more of the individual stops. But.... there's only so much time and the literature does have its own demands.   I'm X-posting this because it's such an outstanding instrument which needs =   hearing, expecially by clergy, hence, the post to Anglican-Music.   I would highly recommend adding this wonderful, exciting, and very = enjoyable CD to your collection. It's available from JAV Recordings. (Thanks Joe! = Ya done good!)   Specification of the Quimby Organ -- St Margaret's, Palm Desert CA PEDAL unenclosed facade 5-inch wind; flues 6-inch, Open Wood 8-inch; = reeds 12-inch 32 Resultant Open Wood 32 Lieblichgedeckt (sw ext) 16 Open Wood 16 Diapason 16 Violone 16 Bourdon 16 Lieblichgedeckt (sw) 10-2/3 Grosse Quinte 8 Octave 8 Diapason (ext) 8 Open Flute (ext) 8 Cello (ext) 8 Bourdon (ext) 8 Lieblichgedeckt (sw) 6-2/3 Grosse Tierce 5-1/3 Quinte (ext) 4 Choral Bass 4 Open Flute (ext) 4 Lieblichgedeckt (sw) 32 Contra Bombarde (ext ped) 32 Contra Trombone (ext gr) 16 Bombarde 16 Trombone (gr) 16 Double Trumpet (sw) 16 Bassoon (sw) 16 Bass Clarinet (ch) 8 Trumpet (ext) 8 Trombone (gr) 4 Clarion (ext) 4 Oboe (sw) 8 Tuba Major (IV) 4 Tuba Clarion (IV)   GREAT (enclosed) 6-inch wind; reeds 12-inch wind 16 Diapason (1-7 from ped) B 16 Bourdon (1-12 from ped) C 8 First Diapason A 8 Second Diapason * B 8 Harmonic Flute (1-12 from ped) C 8 Chimney Flute * C 5-1/3 Quint (from mid-c) B 4 Octave A 4 Principal * B 4 Spire Flute * C 2-2/3 Twelfth A 2 Fifteenth A 1-3/5 Seventeenth A 1-1/3 Chorus Mixture IV-VI A 1-3/5 Tierce Mixture III-V B Tremolo (separate enclsure within Great box) 16 Trombone * D 8 Trumpet * D 4 Clarion * D Chimes (IV)   SWELL (enclosed) 6-inch wind; reeds 12-inch wind 16 Lieblichgedeckt * A 8 Diapason A 8 Viole de gambe 8* B 8 Viole Celeste * B 8 Stopped Diapason C 8 Flauto Dolce * B 8 Flute Celeste (GG) B 4 Octave A 4 Harmonic Flute * C 2-2/3 Nazard * C 2 Harmonic Piccolo * C 1-3/5 Tierce C 2-2/3 Grave Mixture III A 1 Plain Jeu III A 16 Double Trumpet * B 16 Bassoon (ext) A 8 Trumpet * B 8 Bassoon & Oboe * A 4 Clarion * B Tremolo Celesta (IV) Celesta Sub (IV)   CHOIR (enclosed) 7-1/2" wind Violoncello 8 * A Cello Celeste 8 * A Doppelflote 8 * B Traverse Flute 8 * B Erzahler 8 * (diacriticals omitted by me!) A Erzahler Celeste 8 * (diacriticals omitted by me!) A Viola 4 * A Orchestral Flute 4 * B Violin 2 B Bass Clarinet 16 (ext) A Clarinet 8 A English Horn 8 B Vox Humana 8 * A Tremolo Tuba Major 8 (IV) Great B on Choir Great D on Choir   MANUAL IV unenclosed, 25-inch wind 8 Trumpet (gr) 8 Tuba Major (61 pipes) Chimes (37 tubular bells) Celesta (61 notes, prepared) Celeste Sub -- Great A on IV Swell A on IV Choir A on IV Great B on IV Swell B on IV Choir B on IV Great C on IV Swell C on IV Great D on IV -----The transfers remove stops of the same letter gropu from their home manual and re-assign them tot he destination manual, where they couple and =   otherwise behave as if they originated from that department.     Bruce ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Visit Howling Acres at http://members.tripod.com/Brucon502/   --part1_5b.116a02d5.27add3da_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">I have just finished listening to a new CD, = "Frank Bridge &amp; Friends," a gift <BR>from a friend. &nbsp;Normally I would not buy this type of CD for = myself, since I <BR>prefer to listen to small instruments with unequal temperament in VERY =   <BR>reverberant rooms. &nbsp;&nbsp;However, this CD has music of Frank = Bridge, Edward <BR>Bairstow, John Ireland, and William Walton on it.... all of whose = music I <BR>find irresistable and suitable for Saturday nights with candles and = Merlot! &nbsp;&nbsp; <BR>The playlist is: <BR> <BR>++++Frank Bridge <BR>Three Pieces &nbsp;(1905): &nbsp; <BR>--Andante Moderato in c-minor <BR>--Adagio in E <BR>--Allero con Spirito in B-flat <BR>Organ Pieces, Bk 1 &nbsp;(1905) <BR>--Allegretto grazioso <BR>--Allegro commodo <BR>--Allegro marziale <BR>Organ Pieces, Bk II &nbsp;(1912) <BR>--Andante con moto <BR>--Andantino <BR>--Allegro ben moderato <BR>In Memoriam &nbsp;C.H.H. Parry &nbsp;(1918) <BR>Three Pieces &nbsp;(1939) <BR>--Prelude <BR>--Minuet <BR>--Processional <BR> <BR>&amp; FRIENDS <BR>Sir Edward Cuthbert Bairstow: &nbsp;Prelude in C <BR>Lord Edward Benjamin Britten: &nbsp;Prelude and Fugue on a Theme of = Vittoria <BR>John Nicholson Ireland: &nbsp;Elegiac Romance <BR>Craig Sellar Lang: &nbsp;Tuba Tune <BR>Percy William Whitlock: &nbsp;After an Old French Air (Reflections, = No. 1) <BR> <BR>=3D=3D=3D=3D=3D=3D=3D=3D=3D <BR>The Bridge pieces are very well played and bring to mind my first = hearing of <BR>some of them on a disc from St. Paul's Cathedral, although I don't = remember <BR>who was playing. &nbsp;&nbsp;This organ is well-suited to English = organ music and <BR>exhibits the seamless transition from colour to colour so important in = this <BR>period of music and organ building. &nbsp;I was fortunate to be able = to make a <BR>comparison with another recording of the Bairstow Prelude in C. = &nbsp;&nbsp;I have a CD <BR>of Francis Jackson playing Bairstow's organ works at York Minster = (Bairstow's <BR>organ and acoustics). &nbsp;In comparison, the instruments were almost =   <BR>indistinguishable. &nbsp;&nbsp;I don't recall who originally built the = York Minster <BR>organ, or who was responsible for the restoration/completion, but the <BR>instruments, York and St. Margaret's - Palm Desert Ca, are amazingly = similar, <BR>all the way down to the immaculately voiced and finished reeds and the =   <BR>singing Diapasons. <BR>The Ireland "Elegaic Romance" is just beautiful. &nbsp;&nbsp;Also, if = you are a fan of <BR>CS Lang's Tuba Tune, this one piece is worth the cost alone. = &nbsp;&nbsp;Very artistic <BR>and exciting ornamentation really bring this piece to life, and the = Tuba is <BR>just.... well, darn it... it IS! <BR> <BR>The organ is unusual in that it appears to be a VERY large two manual - <BR>Great, Swell and Pedal, with a third manual Solo division, which is = called <BR>"Choir". &nbsp;But it's like no other Choir division I've seen (see = spec below): <BR> <BR>There is also a fourth manual for the "big gun", Chimes and Celesta = (prep); <BR>and apparently whatever your imagination can come up with (see below). <BR> <BR>Additionally, the Quimby folks have come up with creative, practical, = and <BR>musical ways to employ solid state gadgetry. &nbsp;&nbsp;The = instrument shows obvious <BR>signs of having been designed by those who actually play the organ!! <BR> <BR>This is the kind of organ that I, as a purist, long for. = &nbsp;&nbsp;It built without <BR>compromise to do a particular job (playing romantic music and = accompanying <BR>the Episcopal cathedral-style liturgy, although I suppose one could <BR>condescend to play Powell HC service on it!! -- oops! &nbsp;Couldn't = resist). &nbsp;&nbsp; <BR>The organ offers no hat-tip to one who would want to play "all = literature"; <BR>the organ basically says, "I do this job perfectly! &nbsp;If you don't = like it, go <BR>play another organ!" &nbsp;&nbsp;Which is the way I like it. = &nbsp;&nbsp;My only disappointment <BR>with the design is the absence of independent 8' stops in the Pedal. = &nbsp;&nbsp;Except <BR>for the 8 Octave, all others are extensions of the five 16' stops = (another &nbsp; <BR>five are duplexed from the manuals); I usually find the 8' extensions = to be <BR>too large for my taste. &nbsp;&nbsp;But this is a small compromise for = such an <BR>instrument, although, in reality, in a purist design it is consistent = with <BR>the period and, therefore, NOT a compromise! <BR>Several weeks ago, I had the pleasure of spending some time at the = newly <BR>refurbished 1912 Casavant in the Jacoby Symphony Hall - Jacksonville, = FL, <BR>another Quimby project. &nbsp;&nbsp;There is an unmistakable = similarity between these <BR>two instruments: &nbsp;&nbsp;the lush warm sounds of authentic = romantic voicing <BR>preserved and created! &nbsp;&nbsp;This makes me even more excited to = hear the Casavant <BR>reeds when they are in. <BR> <BR>Todd Wilson's playing is typically wonderful and colourful. = &nbsp;&nbsp;I would really <BR>like to hear some improvisation on this instrument that would = demonstrate <BR>more of the individual stops. &nbsp;But.... there's only so much time = and the <BR>literature does have its own demands. <BR> <BR>I'm X-posting this because it's such an outstanding instrument which = needs <BR>hearing, expecially by clergy, hence, the post to Anglican-Music. <BR> <BR>I would highly recommend adding this wonderful, exciting, and very = enjoyable <BR>CD to your collection. &nbsp;It's available from JAV Recordings. = &nbsp;(Thanks Joe! &nbsp;Ya <BR>done good!) <BR> <BR>Specification of the Quimby Organ -- St Margaret's, Palm Desert CA <BR>PEDAL &nbsp;unenclosed &nbsp;&nbsp;facade 5-inch wind; flues 6-inch, = Open Wood 8-inch; reeds <BR>12-inch <BR>32 Resultant Open Wood <BR>32 Lieblichgedeckt &nbsp;(sw ext) <BR>16 Open Wood <BR>16 Diapason <BR>16 Violone <BR>16 Bourdon <BR>16 Lieblichgedeckt &nbsp;(sw) <BR>10-2/3 &nbsp;Grosse Quinte <BR> 8 Octave <BR>8 Diapason &nbsp;(ext) <BR>8 Open Flute &nbsp;(ext) <BR>8 Cello &nbsp;(ext) <BR>8 Bourdon (ext) <BR>8 &nbsp;Lieblichgedeckt &nbsp;(sw) <BR>6-2/3 Grosse Tierce <BR>5-1/3 Quinte &nbsp;(ext) <BR>4 Choral Bass <BR>4 Open Flute &nbsp;(ext) <BR>4 Lieblichgedeckt &nbsp;(sw) <BR>32 Contra Bombarde &nbsp;(ext ped) <BR>32 Contra Trombone &nbsp;(ext gr) <BR>16 Bombarde <BR>16 Trombone &nbsp;(gr) <BR>16 Double Trumpet &nbsp;(sw) <BR>16 Bassoon &nbsp;(sw) <BR>16 Bass Clarinet &nbsp;(ch) <BR>8 Trumpet &nbsp;(ext) <BR>8 Trombone &nbsp;(gr) <BR>4 Clarion &nbsp;(ext) <BR>4 Oboe &nbsp;(sw) <BR>8 Tuba Major &nbsp;&nbsp;(IV) <BR>4 Tuba Clarion &nbsp;(IV) <BR> <BR>GREAT &nbsp;(enclosed) 6-inch wind; reeds 12-inch wind <BR>16 Diapason &nbsp;(1-7 from ped) &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B &nbsp;&nbsp;&nbsp; <BR>16 Bourdon &nbsp;(1-12 from ped) = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;C <BR>8 First Diapason = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= A <BR>8 Second Diapason &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;B <BR>8 Harmonic Flute &nbsp;(1-12 from ped) &nbsp;C <BR>8 Chimney Flute &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;C <BR>5-1/3 Quint &nbsp;(from &nbsp;mid-c) = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;B <BR>4 Octave = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A <BR>4 Principal * = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B <BR>4 Spire Flute &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;C <BR>2-2/3 Twelfth = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A <BR>2 Fifteenth = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A <BR>1-3/5 Seventeenth = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A <BR>1-1/3 &nbsp;Chorus Mixture IV-VI = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A <BR>1-3/5 Tierce Mixture III-V = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;B <BR>Tremolo <BR>(separate enclsure within Great box) <BR>16 Trombone &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;D <BR>8 Trumpet * = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;D <BR>4 Clarion * = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;D <BR> &nbsp;&nbsp;Chimes &nbsp;(IV) <BR> <BR>SWELL &nbsp;&nbsp;&nbsp;&nbsp;(enclosed) &nbsp;6-inch wind; reeds = 12-inch wind <BR>16 Lieblichgedeckt * = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A <BR>8 Diapason = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A <BR>8 Viole de gambe 8* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B <BR>8 Viole Celeste * = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;B <BR>8 Stopped Diapason = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;C <BR>8 Flauto Dolce &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B <BR>8 Flute Celeste &nbsp;(GG) = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B <BR>4 Octave = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;A <BR>4 Harmonic Flute &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;C <BR>2-2/3 Nazard * = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;C <BR>2 Harmonic Piccolo &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;C <BR>1-3/5 Tierce = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;C <BR>2-2/3 Grave Mixture III = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A <BR>1 Plain Jeu III = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A <BR>16 Double Trumpet &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B <BR>16 Bassoon &nbsp;(ext) = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= A <BR>8 Trumpet &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B <BR>8 Bassoon &amp; Oboe &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A <BR>4 Clarion &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B <BR>Tremolo <BR>Celesta &nbsp;(IV) <BR>Celesta Sub &nbsp;(IV) <BR> <BR>CHOIR &nbsp;(enclosed) &nbsp;7-1/2" wind <BR>Violoncello 8 &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;A <BR>Cello Celeste 8 &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= A <BR>Doppelflote 8 &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;B <BR>Traverse Flute 8 &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= B <BR>Erzahler 8 &nbsp;* &nbsp;&nbsp;(diacriticals omitted by me!) = &nbsp;&nbsp;A <BR>Erzahler Celeste 8 &nbsp;* &nbsp;&nbsp;(diacriticals omitted by me!) = &nbsp;&nbsp;A <BR>Viola 4 &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;A <BR>Orchestral Flute 4 &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B <BR>Violin 2 = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n= bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B <BR>Bass Clarinet &nbsp;16 &nbsp;(ext) = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A <BR>Clarinet 8 = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;A <BR>English Horn 8 = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B <BR>Vox Humana 8 &nbsp;* = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= &nbsp;&nbsp;A <BR>Tremolo <BR>Tuba Major 8 &nbsp;(IV) <BR>Great B on Choir <BR>Great D on Choir <BR> <BR>MANUAL IV &nbsp;&nbsp;unenclosed, &nbsp;25-inch wind <BR>8 Trumpet &nbsp;(gr) <BR>8 Tuba Major &nbsp;&nbsp;(61 pipes) <BR> &nbsp;&nbsp;Chimes &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(37 = tubular bells) <BR> &nbsp;&nbsp;Celesta &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(61 = notes, prepared) <BR> &nbsp;&nbsp;Celeste Sub &nbsp;-- <BR>Great A on IV &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Swell A on IV = &nbsp;&nbsp;&nbsp;Choir A on IV <BR>Great B on IV &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Swell B on IV = &nbsp;&nbsp;&nbsp;Choir B on IV <BR>Great C on IV &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Swell C on IV <BR>Great D on IV <BR>-----The transfers remove stops of the same letter gropu from their = home <BR>manual and re-assign them tot he destination manual, where they couple = and <BR>otherwise behave as if they originated from that department. <BR> <BR> <BR></FONT><FONT COLOR=3D"#0000a0" SIZE=3D5 FAMILY=3D"DECORATIVE" = FACE=3D"Tempus Sans ITC" LANG=3D"0"><I>Bruce = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;~ &nbsp;</FONT><FONT COLOR=3D"#0000a0" = SIZE=3D3 FAMILY=3D"SERIF" FACE=3D"Calisto MT" = LANG=3D"0">Cremona502@cs.com</FONT><FONT COLOR=3D"#0000a0" SIZE=3D5 = FAMILY=3D"DECORATIVE" FACE=3D"Tempus Sans ITC" LANG=3D"0"> &nbsp; <BR></FONT><FONT COLOR=3D"#0000a0" SIZE=3D3 FAMILY=3D"SERIF" = FACE=3D"Calisto MT" LANG=3D"0">with the Baskerbeagles in the Beagle's Nest = ~ ""Haruffaroo, Bohawow!" <BR>Visit Howling Acres at = &nbsp;&nbsp;http://members.tripod.com/Brucon502/</I></FONT></HTML>   --part1_5b.116a02d5.27add3da_boundary--  
(back) Subject: Re: Service or Mass Programs From: <Cremona502@cs.com> Date: Sat, 3 Feb 2001 16:40:59 EST     --part1_be.f8cc757.27add4eb_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 2/3/01 8:21:15 PM !!!First Boot!!!, = quilisma@socal.rr.com writes:     > > Are there any templates to help me out? > >   There are also templates from Canon and Corel.   Bruce ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Visit Howling Acres at http://members.tripod.com/Brucon502/   --part1_be.f8cc757.27add4eb_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">In a message dated 2/3/01 8:21:15 PM !!!First = Boot!!!, quilisma@socal.rr.com <BR>writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">&gt; Are there any = templates to help me out? <BR> <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>There are also templates from Canon and Corel. <BR> <BR></FONT><FONT COLOR=3D"#0000a0" SIZE=3D5 FAMILY=3D"DECORATIVE" = FACE=3D"Tempus Sans ITC" LANG=3D"0"><I>Bruce = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;~ &nbsp;</FONT><FONT COLOR=3D"#0000a0" = SIZE=3D3 FAMILY=3D"SERIF" FACE=3D"Calisto MT" = LANG=3D"0">Cremona502@cs.com</FONT><FONT COLOR=3D"#0000a0" SIZE=3D5 = FAMILY=3D"DECORATIVE" FACE=3D"Tempus Sans ITC" LANG=3D"0"> &nbsp; <BR></FONT><FONT COLOR=3D"#0000a0" SIZE=3D3 FAMILY=3D"SERIF" = FACE=3D"Calisto MT" LANG=3D"0">with the Baskerbeagles in the Beagle's Nest = ~ ""Haruffaroo, Bohawow!" <BR>Visit Howling Acres at = &nbsp;&nbsp;http://members.tripod.com/Brucon502/</I></FONT></HTML>   --part1_be.f8cc757.27add4eb_boundary--