PipeChat Digest #1847 - Wednesday, February 28, 2001
 
Re: Postludes
  by "Mark Hummel" <mhummel@pcug.org.au>
Re: Music for Sale, Anyone?
  by "Pat Maimone" <patmai@juno.com>
The Sixteen in concert at Fourth Presbyterian Church on 3 April 2	001 at 
  by "Cole Carroll" <CCole@fourthchurch.org>
Re: Music for Sale, Anyone?
  by "Cheryl C Hart" <info@copemanhart.co.uk>
LeRoy Hanson
  by "Judy A. Ollikkala" <71431.2534@compuserve.com>
Console CAM - Why not?
  by "noel jones" <gedeckt@usit.net>
Re: Console CAM - Why not?
  by "Jerry Riddle" <aqne@waveinter.com>
Dennis Law R.I.P.
  by "Blaine Ricketts" <blaineri@home.com>
Re: Console CAM - Why not?
  by <DRAWKNOB@aol.com>
Re: please forgive some bitter personal recollections
  by <DRAWKNOB@aol.com>
Re: Music for Sale, Anyone?
  by <DRAWKNOB@aol.com>
Re: please forgive some bitter personal recollections
  by "Bob Scarborough" <desertbob@rglobal.net>
commission - Dedication of a Church - some further info, and a question  
  by <quilisma@socal.rr.com>
Re: salaries
  by "Blaine Ricketts" <blaineri@home.com>
Re: commission - Dedication of a Church - some further info, and a questi
  by <ManderUSA@aol.com>
Re: commission - Dedication of a Church - some further info, anda  questi
  by <quilisma@socal.rr.com>
Re: Postludes
  by <Cremona502@cs.com>
Re: please forgive some bitter personal recollections
  by "mike" <mike3247@earthlink.net>
 

(back) Subject: Re: Postludes From: "Mark Hummel" <mhummel@pcug.org.au> Date: Wed, 28 Feb 2001 21:24:18 +1100 (EST)   Hi,   Just wondering, I guess its not appropriate to use full organ in the postlude? <g>   Then people would have to continue their converstations outdoors.   Mark.          
(back) Subject: Re: Music for Sale, Anyone? From: "Pat Maimone" <patmai@juno.com> Date: Wed, 28 Feb 2001 07:55:02 -0500   Hello, Jane and Pipechatters,   Welcome to Pipechat, Jane! Where are you located? I second Ron Severin's suggestion to join the local AGO chapter, with the additional info (did you see my post from yesterday?) that if you join as a new member before March 31, the special rate of $30 plus local fee will apply rather than the full $70!   I shall forward your note to the e-mail enabled members of our Central Hudson Valley chapter. A few of our members have positions as part-time organists for Catholic churches in the Hudson Valley and will be in a better position to recommend (and possibly sell) the music that has worked for them.   Pat Maimone   newly appointed District Convener, 8 Upstate NY AGO chapters Immediate Past Dean, Central Hudson Valley Chapter AGO Organist/Director of Musical Activities, Post Chapel 692 Biddle Loop West Point, NY 10996-1390 III/57 Aeolian-Skinner/Moeller/Gress-Miles ________________________________________________________________ GET INTERNET ACCESS FROM JUNO! Juno offers FREE or PREMIUM Internet access for less! Join Juno today! For your FREE software, visit: http://dl.www.juno.com/get/tagj.  
(back) Subject: The Sixteen in concert at Fourth Presbyterian Church on 3 April 2 001 at 8:00 p.m. From: "Cole Carroll" <CCole@fourthchurch.org> Date: Wed, 28 Feb 2001 06:59:20 -0600   THE SIXTEEN, HARRY CHRISTOPHERS, Conductor=20 3 April 2001 8:00 p.m. The Fourth Presbyterian Church of Chicago Michigan Avenue at Delaware Place (reduced parking at 900 N. Michigan = for $6.25 after 5:00 p.m.) Suggested Donations: $25 and $20 reserved seating (available online) $17 general seating; $15 seniors and students (available online) Group rate: $12 for 15 or more (arrangements made through music office only)=20 Music Infoline: 312.787.2729, ext. 600 Contact: C. Carroll Cole 312.787.2729, ext. 252 = ccole@fourthchurch.org Visit www.fourthchurch.org ________________________________________________________________________= ____   The Glories of Renaissance Choral Music Masterpieces by three great 16th century composers from England, Italy = ,and Spain: William Byrd, Giovanni Pierluigi da Palestrina and Tom=E1s Luis = de Victoria.   PROGRAM Mass for 4 Voices William Byrd (interspersed throughout program) Tolta pulchra es Giovanni Pierluigi da Palestrina Vidi speciosam Tom=E1s Luis de Victoria Ave Maria Byrd Quae est ista quae progreditur Palestrina Sicut lilium intwer spinas Palestrina Duo ubera tua Palestrina Vadam et circuibo Victoria   The Sixteen is one of the jewels in the musical crown of Britain. Based = in Oxford, this group is internationally recognized as one of the finest = choirs of our time, and it is admired for performances combining clarity and precision with beauty and dramatic intensity. It concentrates on the heritage of early English polyphony, masterpieces of the Renaissance = and Baroque, and a diversity of twentieth century choral work. The choir is complimented for larger scale works by its orchestra, The Symphony of Harmony and Invention, and through it Harry Christophers brings fresh insights to the music of Purcell, Monteverdi, J. S. Bach and Handel. = Many prize-winning recordings reflect the quality and inspiration of the = group's work. Recent years have seen the group's debuts at the Vienna = Musikverein, the Brisbane, Covent Garden, Halle, Istanbul and Lucerne festivals, and = at the Lisbon Opera in a new production of Monmteverdi's "Il Ritorno = d'Ulisse." In 2000 The Sixteen made a Choral Pilgrimage to the finest English cathedrals, returning pre-reformation music written for these buildings = to its home. This met with a huge public response. In coming months the = group makes major tours of Japan and the USA, returns to the Covent Garden Festival, New York's Lincoln Center, Manchester's Bridgewater Hall and London's Barbican Centre, and makes debuts at the Scarlatti Festival, = Italy, Theatre des Champs-Elysees, Paris, and the Belfast, Brighton, = Chicester, Norwich and Three Choirs festivals.=20   The Sixteen's conductor and founder, Harry Christophers, has directed = the group throughout Europe, America and the Far East, gaining a = distinguished reputation through a variety of projects and over seventy recordings. = He is a regular guest conductor of orchestras such as the English Chamber Orchestra, BBC Philharmonic and Deutsche Kammerphilharmonie, and in the = USA has conducted the St Louis Symphony. Increasingly busy in opera, he has conducted Monteverdi's Il Rittorno d'Ulise, Gluck's Orfeo and Mozart's = Magic Flute for Lisbon Opera House, and in September 2000 made his debut for English National Opera conducting Monteverdi's Coronation of Poppea.   The Sixteen's seventy CD recordings have won many accolades, including = two Grands Prix du Disque, two Deutsche Schallplatten prizes and the 1992 Gramophone Early Music Award for the first of the five volume Music = from the Eton Choirbook. Their Stravinsky and Poulenc disc with the BBC = Philharmonic and Frank Martin disc won Diapason d'Or awards in 1995 and 1996. = Recordings span music over six centuries, from simple plainchant to the most = virtuosic 20th century choral writing: medieval English music, Robert Carver, Sheppard, Taverner, Tallis, Byrd, the Portuguese 17th century composers Melgas and Rebelo, Purcell, JS Bach, Handel's oratorios, Poulenc, = Britten, Stravinsky, Messiaen, Lesur, Bernstein and Tavener.   The USA tour includes performances in Atlanta, Minneapolis/St. Paul, = Boston, New York, Los Angeles and Chicago, commencing on 24 March and closing = on 7 April 2001. All concerts will be 1 hour 45 minutes in length with an interval, unless otherwise indicated.   What people are saying about The Sixteen..... "this world-class ensemble" The Musical Times   "The Sixteen proved stunning in its pure tuning and exquisite = weighting and balance. It seemed, in its splendor, the sound of an organ..." Lincoln Center debut 1997. The New York Times   "A constantly arresting and moving experience. These exciting = performers capture the flavour so perfectly. Sit back and let the glorious sounds = fill your ears and lift your spirits." Gramophone   "An ensemble sound of surprising force and sonority that can contract = to the finest kind of vocal needlework." Lincoln Center debut 1997. New York = Post   C. Carroll Cole Arts Administrator Fourth Presbyterian Church 126 East Chestnut Street=20 Chicago, IL 60611-2094 312.787.2729, ext. 252 facsimile: 312.787.4584 ccole@fourthchurch.org <http://www.fourthchurch.org>=20      
(back) Subject: Re: Music for Sale, Anyone? From: "Cheryl C Hart" <info@copemanhart.co.uk> Date: Wed, 28 Feb 2001 15:00:32 +0000   Hello, Jane.   Have you tried your local library? When I was a young and impoverished student, and then mother, I discovered to my delight that libraries (here in the UK) often had a surprising amount of organ music, amongst which I recall finding some real gems. Not only did this widen my repertoire and save me from buying music which I discovered I did not like, but it also gave me the opportunity to photocopy those pieces I just had to have out = of books which I could not afford at the time.   Cheryl     http://www.copemanhart.co.uk   Copeman Hart & Company Ltd Organ Builders ENGLAND    
(back) Subject: LeRoy Hanson From: "Judy A. Ollikkala" <71431.2534@compuserve.com> Date: Wed, 28 Feb 2001 11:10:07 -0500   I'm reporting the death of longtime friend, organist, and organ teacher LeRoy K. Hanson, organist emeritus of Wesley Methodist Church, Worcester Massachusetts who died early today of leukemia at age 71. He was an active member of the Worcester Chapter AGO, having served as Dean from 1966-68, and on the Board at other times. He was a teacher of organ for many years and will be sorely missed for his advice, musicianship, and courteous and friendly demeanor. Since funeral arrangements are incomplete, if anyone wishes them, please e-mail me directly. Judy Ollikkala  
(back) Subject: Console CAM - Why not? From: "noel jones" <gedeckt@usit.net> Date: Wed, 28 Feb 2001 11:37:48 -0500   http://www.sawyercreek.com/page6.htm   At the web address listed above you can view the foaling stall at an Appaloosa horse farm and join them in in the anticipated blessed event...   Wouldn't it be great if there was a ConsoleCAM on some of the major organs? At Notre Dame...view the console and listen 24 hours a day...maybe catch a service or an improvisation? Or hear an organist work over and over again to get a phrase just right.   Or on a practice console at Oberlin or Westminster Choir College, one of those organs that is in use 24 hours a day?   Big brother is watching...and learning.     noel jones, aago ~~~~~~~~~~~~~~~ Moderator, Rodgers Organ Users Group  
(back) Subject: Re: Console CAM - Why not? From: "Jerry Riddle" <aqne@waveinter.com> Date: Wed, 28 Feb 2001 12:52:08 -0500   You hit the nail right on the head - What a great idea.   noel jones wrote:   > http://www.sawyercreek.com/page6.htm > > At the web address listed above you can view the foaling stall at an > Appaloosa horse farm and join them in in the anticipated blessed = event... > > Wouldn't it be great if there was a ConsoleCAM on some of the major > organs? At Notre Dame...view the console and listen 24 hours a > day...maybe catch a service or an improvisation? Or hear an organist > work over and over again to get a phrase just right. > > Or on a practice console at Oberlin or Westminster Choir College, one of > those organs that is in use 24 hours a day? > > Big brother is watching...and learning. > > noel jones, aago > ~~~~~~~~~~~~~~~ > Moderator, Rodgers Organ Users Group > > "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: Dennis Law R.I.P. From: "Blaine Ricketts" <blaineri@home.com> Date: Wed, 28 Feb 2001 13:03:29 -0800   Dennis Law, long involved in the electronic organ world here in Northern California, suffered a fatal heart attack late Saturday night.   Dennis was raised in Idaho where the memorial service and burial will take place.   There is a viewing Thursday night 6-9 PM, March 1 at Chapel of the = Highlands 194 Millwood Drive (at El Camino Real), Millbrae, CA. Phone (650) 588-5116 web site <http://chapelofthehighlands.com/>   At one time Dennis taught organ lessons and sold Yamaha and Conn Organs in = the Santa Clara area.   Dennis was very active with the Alilomar Home Organ Festival for many = years.   For at least the last ten years he delivered almost every Allen Organ for = John Nelson.   Dennis lived a short distance from me and always helped with all types of = pipe and electronic projects when not working for John Nelson. He will be = greatly missed.   Blaine Ricketts  
(back) Subject: Re: Console CAM - Why not? From: <DRAWKNOB@aol.com> Date: Wed, 28 Feb 2001 16:05:46 EST   In a message dated 2/28/01 10:37:44 AM Central Standard Time, gedeckt@usit.net writes:   << Or hear an organist work over and over again to get a phrase just right. >>   May not be such a good idea... Especially, if others use language like I = do when working on difficult passages.   John  
(back) Subject: Re: please forgive some bitter personal recollections From: <DRAWKNOB@aol.com> Date: Wed, 28 Feb 2001 16:15:24 EST   In a message dated 2/27/01 12:42:45 AM Central Standard Time, quilisma@socal.rr.com writes:   << She didn't come to my ordination to the priesthood. Nor did she ever = see me celebrate Mass. >>   How horribly sad.... what makes people act like this? I find it hard to fathom how God's love can be so misconstrued.   John  
(back) Subject: Re: Music for Sale, Anyone? From: <DRAWKNOB@aol.com> Date: Wed, 28 Feb 2001 16:22:24 EST   Hi Jane,   Check out Ebay at www.ebay.com and type in the search window "organ music"... I have found some real gems for a little bit of nothing and I = find the bidding process to be fun, especially if there is at least one other = who wants the same music.   Good luck to ya!   John  
(back) Subject: Re: please forgive some bitter personal recollections From: "Bob Scarborough" <desertbob@rglobal.net> Date: Wed, 28 Feb 2001 13:33:53 -0800   At 04:15 PM 2/28/2001 -0500, you wrote: How horribly sad.... what makes people act like this? I find it hard to >fathom how God's love can be so misconstrued.<snip>   The fact is that this is more ordinarily the case than isn't. Witness the =   self-righteousness of the "born-agains", for an example. Tune in TBN or a =   "country" UHF station; the airwaves are full of veiled hatred, intolerance =   and illegal political agitation.   Marx was onto something.   DeserTBoB    
(back) Subject: commission - Dedication of a Church - some further info, and a question (X-posted) From: <quilisma@socal.rr.com> Date: Wed, 28 Feb 2001 14:30:25 -0800   Submission should be typeset, preferably in Finale or Sibelius.   PLEASE use the older vocal/chant notation where the eighth notes and sixteenth notes are beamed according to what syllables they belong to, rather than the current instrumental/piano notation where they're not (OUP House Style) ... the latter drives my choir CRAZY, to the point that we don't use some OUP editions.   I'm curious ... how do others feel about this change in notational practice?   Cheers,   Bud    
(back) Subject: Re: salaries From: "Blaine Ricketts" <blaineri@home.com> Date: Wed, 28 Feb 2001 14:36:14 -0800   The San Francisco AGO has a manual for salaries in the Bay Area. You = should call them or check out the web site. 415/284-6250 and <www.sfago.org>   Blaine Ricketts Castro Valley, CA     randy terry wrote: > > What is the proper etiquette for discussing salaries at our music jobs? =   > =3D=3D=3D=3D=3D  
(back) Subject: Re: commission - Dedication of a Church - some further info, and a question ... From: <ManderUSA@aol.com> Date: Wed, 28 Feb 2001 17:47:15 EST     --part1_6c.82dfec8.27ced9f3_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 2/28/2001 5:28:25 PM Eastern Standard Time, quilisma@socal.rr.com writes:     > PLEASE use the older vocal/chant notation where the eighth notes and > sixteenth notes are beamed according to what syllables they belong to, > rather than the current instrumental/piano notation where they're not > (OUP House Style) ... the latter drives my choir CRAZY, to the point > that we don't use some OUP editions. > > I'm curious ... how do others feel about this change in notational > practice? >   I have forgotten when I first noticed this creeping in to published music, =   but I have always thought it much harder to read correctly, and have = cursed it out loud to my choir on several occasions. Having said that, when I = write for my choir, using Finale, it automatically takes the brainless route, = and beams everything it can. Perhaps you are about to improve my lot by = telling me there is a way of overriding this phenomenon, and keeping chosen eighth =   notes individually flagged for individual syllables!? Please!! To my = shame, I have never looked under beaming in the Help menu, but I am shell shocked = from trying to find solutions to other little problems there, without success.   All the best,   Malcolm   --part1_6c.82dfec8.27ced9f3_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><BODY BGCOLOR=3D"#ffffff"><FONT = SIZE=3D2>In a message dated 2/28/2001 5:28:25 PM Eastern Standard Time, <BR>quilisma@socal.rr.com writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">PLEASE use the = older vocal/chant notation where the eighth notes and <BR>sixteenth notes are beamed according to what syllables they belong to, <BR>rather than the current instrumental/piano notation where they're not <BR>(OUP House Style) ... the latter drives my choir CRAZY, to the point <BR>that we don't use some OUP editions. <BR> <BR>I'm curious ... how do others feel about this change in notational <BR>practice? <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>I have forgotten when I first noticed this creeping in to published = music, <BR>but I have always thought it much harder to read correctly, and have = cursed <BR>it out loud to my choir on several occasions. Having said that, when I = write <BR>for my choir, using Finale, it automatically takes the brainless = route, and <BR>beams everything it can. Perhaps you are about to improve my lot by = telling <BR>me there is a way of overriding this phenomenon, and keeping chosen = eighth <BR>notes individually flagged for individual syllables!? Please!! To my = shame, I <BR>have never looked under beaming in the Help menu, but I am shell = shocked from <BR>trying to find solutions to other little problems there, without = success. <BR> <BR>All the best, <BR> <BR>Malcolm</FONT></HTML>   --part1_6c.82dfec8.27ced9f3_boundary--  
(back) Subject: Re: commission - Dedication of a Church - some further info, anda question ... From: <quilisma@socal.rr.com> Date: Wed, 28 Feb 2001 14:59:40 -0800     --------------E483514688AE72F1ACCD5037 Content-Type: text/plain; charset=3Dus-ascii Content-Transfer-Encoding: 7bit   I use Sibelius, so I don't know about Finale, but in Sibelius it's very quick and easy ... it's under the third layer of the numeric keypad ... all you have to do is click on it, and it offers every possible option for beaming. I'll ask a friend who uses Finale ... I'm SURE it MUST be equally accessible (or maybe not ... we HAVE come across a couple of strange things like that which Sibelius can do and Finale can't, or Sibelius can do much EASIER).   Cheers,   Bud   ManderUSA@aol.com wrote:   > In a message dated 2/28/2001 5:28:25 PM Eastern Standard Time, > quilisma@socal.rr.com writes: > > > >> PLEASE use the older vocal/chant notation where the eighth notes and >> >> sixteenth notes are beamed according to what syllables they belong >> to, >> rather than the current instrumental/piano notation where they're >> not >> (OUP House Style) ... the latter drives my choir CRAZY, to the point >> >> that we don't use some OUP editions. >> >> I'm curious ... how do others feel about this change in notational >> practice? > > I have forgotten when I first noticed this creeping in to published > music, > but I have always thought it much harder to read correctly, and have > cursed > it out loud to my choir on several occasions. Having said that, when I > write > for my choir, using Finale, it automatically takes the brainless > route, and > beams everything it can. Perhaps you are about to improve my lot by > telling > me there is a way of overriding this phenomenon, and keeping chosen > eighth > notes individually flagged for individual syllables!? Please!! To my > shame, I > have never looked under beaming in the Help menu, but I am shell > shocked from > trying to find solutions to other little problems there, without > success. > > All the best, > > Malcolm   --------------E483514688AE72F1ACCD5037 Content-Type: text/html; charset=3Dus-ascii Content-Transfer-Encoding: 7bit   <!doctype html public "-//w3c//dtd html 4.0 transitional//en"> <html> <body bgcolor=3D"#FFFFFF"> I use Sibelius, so I don't know about Finale, but in Sibelius it's very quick and easy ... it's under the third layer of the numeric keypad ... all you have to do is click on it, and it offers every possible option for beaming. I'll ask a friend who uses Finale ... I'm SURE it MUST be equally accessible (or maybe not ... we HAVE come across a couple of = strange things like that which Sibelius can do and Finale can't, or Sibelius can do much EASIER). <p>Cheers, <p>Bud <p>ManderUSA@aol.com wrote: <blockquote TYPE=3DCITE><font face=3D"arial,helvetica"><font size=3D-1>In = a message dated 2/28/2001 5:28:25 PM Eastern Standard Time,</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>quilisma@socal.rr.com = writes:</font></font> <br>&nbsp; <br>&nbsp; <blockquote TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"><font = face=3D"arial,helvetica"><font size=3D-1>PLEASE use the older vocal/chant notation where the eighth notes = and</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>sixteenth notes are = beamed according to what syllables they belong to,</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>rather than the current instrumental/piano notation where they're not</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>(OUP House Style) ... = the latter drives my choir CRAZY, to the point</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>that we don't use some = OUP editions.</font></font> <p><font face=3D"arial,helvetica"><font size=3D-1>I'm curious ... how do = others feel about this change in notational</font></font> <br><font face=3D"arial,helvetica"><font = size=3D-1>practice?</font></font></blockquote>   <p><font face=3D"Arial"><font color=3D"#000000"><font size=3D-1>I have = forgotten when I first noticed this creeping in to published = music,</font></font></font> <br><font face=3D"Arial"><font color=3D"#000000"><font size=3D-1>but I have always thought it much harder to read correctly, and have = cursed</font></font></font> <br><font face=3D"Arial"><font color=3D"#000000"><font size=3D-1>it out = loud to my choir on several occasions. Having said that, when I = write</font></font></font> <br><font face=3D"Arial"><font color=3D"#000000"><font size=3D-1>for my = choir, using Finale, it automatically takes the brainless route, = and</font></font></font> <br><font face=3D"Arial"><font color=3D"#000000"><font size=3D-1>beams = everything it can. Perhaps you are about to improve my lot by = telling</font></font></font> <br><font face=3D"Arial"><font color=3D"#000000"><font size=3D-1>me there = is a way of overriding this phenomenon, and keeping chosen = eighth</font></font></font> <br><font face=3D"Arial"><font color=3D"#000000"><font size=3D-1>notes = individually flagged for individual syllables!? Please!! To my shame, = I</font></font></font> <br><font face=3D"Arial"><font color=3D"#000000"><font size=3D-1>have = never looked under beaming in the Help menu, but I am shell shocked = from</font></font></font> <br><font face=3D"Arial"><font color=3D"#000000"><font size=3D-1>trying to = find solutions to other little problems there, without = success.</font></font></font> <p><font face=3D"Arial"><font color=3D"#000000"><font size=3D-1>All the = best,</font></font></font> <p><font face=3D"Arial"><font color=3D"#000000"><font = size=3D-1>Malcolm</font></font></font></blockquote>   </body> </html>   --------------E483514688AE72F1ACCD5037--    
(back) Subject: Re: Postludes From: <Cremona502@cs.com> Date: Wed, 28 Feb 2001 18:44:03 EST     --part1_db.10d82afd.27cee743_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 2/28/01 10:25:13 AM !!!First Boot!!!, = mhummel@pcug.org.au writes:     > Just wondering, I guess its not appropriate to use full organ in the > postlude? <g> > >   There are very FEW times when "full organ" IS appropriate. It is greatly =   over-used! IMHO   Bruce ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Visit Howling Acres at http://members.tripod.com/Brucon502/   --part1_db.10d82afd.27cee743_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 = 2/28/01 10:25:13 AM !!!First Boot!!!, mhummel@pcug.org.au <BR>writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Just wondering, I = guess its not appropriate to use full organ in the <BR>postlude? &lt;g&gt; <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 very FEW times when "full organ" IS &nbsp;appropriate. = &nbsp;It is greatly <BR>over-used! IMHO <BR> <BR>Bruce &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;~ &nbsp;Cremona502@cs.com &nbsp; <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR>Visit Howling Acres at = &nbsp;&nbsp;http://members.tripod.com/Brucon502/</FONT></HTML>   --part1_db.10d82afd.27cee743_boundary--  
(back) Subject: Re: please forgive some bitter personal recollections From: "mike" <mike3247@earthlink.net> Date: Wed, 28 Feb 2001 18:45:53 -0500   Mike Gettelman wrote:   Gods love is freedom, even to misconstrue.       DRAWKNOB@aol.com wrote:   > In a message dated 2/27/01 12:42:45 AM Central Standard Time, > quilisma@socal.rr.com writes: > > << She didn't come to my ordination to the priesthood. Nor did she ever = see > me celebrate Mass. >> > > How horribly sad.... what makes people act like this? I find it hard to > fathom how God's love can be so misconstrued. > > John > > "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