PipeChat Digest #1781 - Sunday, January 21, 2001
 
Re: Theatre Organ configuration question
  by "VEAGUE" <dutchorgan@svs.net>
Re: Update on Skinner project
  by "VEAGUE" <dutchorgan@svs.net>
Bach
  by "VEAGUE" <dutchorgan@svs.net>
Theatre Organ Question
  by <Victorgan@aol.com>
Re: (OFF-TOPIC for pipechat) - New Hammonds - delete if not    interested
  by "Tim Bovard" <tmbovard@arkansas.net>
Re: Settings of the Gloria (RC)
  by "Bonnie Beth Derby" <orge@dreamscape.com>
Re: Settings of the Gloria (RC)
  by "Carlo Pietroniro" <organist@total.net>
Re: Theatre Organ Question
  by "steve c bournias" <chrisbournias@hotmail.com>
Theatre Organ Specs
  by "Bob Acker" <pipeluvr@swbell.net>
Re: (OFF-TOPIC for pipechat) - New Hammonds - delete if not    interested
  by <RonSeverin@aol.com>
Re: Settings of the Gloria (RC)
  by <DrCorgcomp@aol.com>
Anthem Compilation Resource Info Sought (x post)
  by <ScottFop@aol.com>
Manz books
  by "Shirley" <pnst@earthlink.net>
Paul Manz CD
  by "Paul Soulek" <soulek@frontiernet.net>
RE: Manz books
  by "Darrell Coons" <dcoons@netacc.net>
Re: Paul Manz CD
  by "william H. Evans" <whevans@softcom.net>
Re: Manz books
  by "Pat Maimone" <patmai@juno.com>
Re: Theatre Organ Question
  by "Gary Blevins" <gsblvns@camalott.com>
Re: Theatre Organ Question
  by "Ray Thursby" <raythursby@earthlink.net>
Re: Theatre Organ Specs
  by "VEAGUE" <dutchorgan@svs.net>
 

(back) Subject: Re: Theatre Organ configuration question From: "VEAGUE" <dutchorgan@svs.net> Date: Sat, 20 Jan 2001 09:02:11 -0500   A "tinkle-bar" in a Mandolin rail or "rinky-tink" found on some uprights that drops down in front of the hammers to give the old-time saloon sound. This is controled from a front-rail tab on the console.   Rick    
(back) Subject: Re: Update on Skinner project From: "VEAGUE" <dutchorgan@svs.net> Date: Sat, 20 Jan 2001 09:14:22 -0500   Re: Fund-raising for the Skinner.   In Paducah, Ky. -the quilting capital of Kentucky- they sold/auctioned quilts and night light statues of saints- all procedes going towards the organ restoration. Two anomynous doners came thru with the balance of the money required.   Rick    
(back) Subject: Bach From: "VEAGUE" <dutchorgan@svs.net> Date: Sat, 20 Jan 2001 09:17:24 -0500   I heard yesterday on NPR that Germany recovered origional Bach manuscripts that the Russians had taken as 'war trophies' during WWII.   Rick    
(back) Subject: Theatre Organ Question From: <Victorgan@aol.com> Date: Sat, 20 Jan 2001 10:19:02 EST   To All You Theatre Organ Personi Out There:   What are the guidelines/standards/ground rules, if any, as to what belongs = in what chamber of a Theatre Organ?   This question also applies not only to the location of the pipes (as per chamber), but also to what stop tabs should appear on the console in each Division and at what pitches? (Not necessiarly the order of tabs.)   For example, on a 3 (Acc/Great/Solo) manual instrument that is installed = in 2 chambers (Main & Solo), what governs what stops tabs and pitches are to appear in each division on the console? What is the difference between = the Accom stops and the Great? Between the Great and the Solo?   What about a 4 manual Console? Is the 4th manual always called a Bombard? =   What should be in this chamber and divisional stops?   Vic  
(back) Subject: Re: (OFF-TOPIC for pipechat) - New Hammonds - delete if not interested (grin) (X-posted) From: "Tim Bovard" <tmbovard@arkansas.net> Date: Sat, 20 Jan 2001 10:45:41 -0600   At 1/19/01 09:29 PM, you wrote: >At 06:37 PM 1/19/2001 -0600, you wrote: >>Now if i could just find a Model E that was reasonable and close!! = <G><snip> > >Mine's nearing completion of restoration, AND has a wonderful "tallboy" >31-H Leslie! Shame you're so far away....<snicker> > >DeserTBoB >   Now, now, Bob...,   It's not nice to tease your friendly neighborhood Listowner like that...! <giggle>   OK, I'll be quiet now...<snicker, snarf>   Tim    
(back) Subject: Re: Settings of the Gloria (RC) From: "Bonnie Beth Derby" <orge@dreamscape.com> Date: Sat, 20 Jan 2001 12:04:45 -0500   Hi Carlo, Ron, Eric and other RC organists,   Sorry for being a bit off topic on this.   At St. James they have been using the "Mass of Creation" with the Gloria from the Worship Hymnal # 234. Since I started my position in October I have looked at a number of Gloria settings. We used the "Gloria for Christmas" of Richard Proulx this past Christmas and the congregation = really joined in on that one, (the "Gloria" tune taken from the familiar = Christmas Carol "Angels we have heard on high"). We are also looking at the "Mass = of the Angels and Saints" of Steven Janco for future use. As for this Easter = I am arranging a "Gloria" from a portion of a hymn for Easter.   Carlo, thanks for the tip on the "Gloria" from the "Creation Mass". I'll try it out.   Best regards,   Bonnie Beth   Bonnie Beth Derby, B.Mus., M.Mus. Producer & Host ``Orgelwerke'' & ``Choral Traditions'' WCNY-FM, 91.3; Syracuse; WUNY-FM, 89.5, Utica; WJNY-FM, 90.9, Watertown Organist & Director of Music, St. James Roman Catholic Church, Syracuse [1988 Odell/Kerner & Merchant 33-rank tracker organ] orge@dreamscape.com      
(back) Subject: Re: Settings of the Gloria (RC) From: "Carlo Pietroniro" <organist@total.net> Date: Sat, 20 Jan 2001 12:00:18 -0500   Bonnie Beth,   with a little work, you can change anything from a minor key to a major = key. It changes the whole mood. I changed the "Holy Holy" to G Major, and it sounds great <G>   Carlo    
(back) Subject: Re: Theatre Organ Question From: "steve c bournias" <chrisbournias@hotmail.com> Date: Sat, 20 Jan 2001 12:32:50 -0500   On a 3m i would have the lesser voices in terms of color and assertiveness =   as the Accomp...the great could share some of these plus the more = assertive voices including the larger diapasons...the solo should have all of these plus the powerful stuff. the 4th can be a bombard etc...steve bournias   >From: Victorgan@aol.com >Reply-To: "PipeChat" <pipechat@pipechat.org> >To: pipechat@pipechat.org >Subject: Theatre Organ Question >Date: Sat, 20 Jan 2001 10:19:02 EST > >To All You Theatre Organ Personi Out There: > >What are the guidelines/standards/ground rules, if any, as to what = belongs >in >what chamber of a Theatre Organ? > >This question also applies not only to the location of the pipes (as per >chamber), but also to what stop tabs should appear on the console in each >Division and at what pitches? (Not necessiarly the order of tabs.) > >For example, on a 3 (Acc/Great/Solo) manual instrument that is installed = in >2 >chambers (Main & Solo), what governs what stops tabs and pitches are to >appear in each division on the console? What is the difference between = the >Accom stops and the Great? Between the Great and the Solo? > >What about a 4 manual Console? Is the 4th manual always called a Bombard? >What should be in this chamber and divisional stops? > >Vic > >"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 >   _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com    
(back) Subject: Theatre Organ Specs From: "Bob Acker" <pipeluvr@swbell.net> Date: Sat, 20 Jan 2001 11:49:00 -0600   Vic writes (abbreviated):   >What are the guidelines/standards/ground rules, if any, as to what > belongs in what chamber of a Theatre Organ? . . .but also to what > stop tabs should appear on the console in each Division and at > what pitches? . . . What is the difference between the Accom > stops and the Great? . . . Between the Great and the Solo? > . . . Is the 4th manual always called a Bombard? . . . What >should be in this chamber and divisional stops?     Vic and List -   Good questions! Far and away the best place to find the answers to these questions are = found in Walter Strony's Book "The Secrets of Theatre Organ Registration". = Walter provides a very detailed commentary on most, if not all, of your = questions. The book is available (per the inside front cover) from Walter Strony = Organ Concerts, PO Box 3532, Carefree, AZ 85377 or from the Organ Historical Society at   http://www.ohscatalog.org/books.html)   Best wishes in your search!   Bob Acker Dallas    
(back) Subject: Re: (OFF-TOPIC for pipechat) - New Hammonds - delete if not interested (g... From: <RonSeverin@aol.com> Date: Sat, 20 Jan 2001 13:30:44 EST   Hi Tim and all Hammond Lovers:   You won't believe this, but Viscount has come out with their first tone = modled organ the DB-25. All the Hammond drawbar wheelie organs are recreated in this one instrument. It was shown at the Anaheim NAMM and Church Organ Systems is the sole agent. Want an A-100 it's there, B-3 it's there and all the others. with all their characteristics present. The digital = leslie is also modeled and convincing.   This was their first modeled organ, and it is affordable. The next step = will be modeled digital organs in 2002-or 2003. The pipes will be digitally = modeled to the last detail: attack, tone and release. Now it will be possible to digitally model a Cavaille Coll organ, but also its accoustical environment as well. They will digitally model an entire organ, which has never been done = before. It should really open this company to a much wider distribution, and acceptance as the possibilities are really unbelieveable.   All the Best,   Ron Severin  
(back) Subject: Re: Settings of the Gloria (RC) From: <DrCorgcomp@aol.com> Date: Sat, 20 Jan 2001 14:46:07 EST   Dear Colleagues - In print from Morning Star Music Publishers is my GLORIA, commissioned for the Papal Mass in St. Louis. This work was originally scored for congregation, cantor, choir and full orchestra; the published version is with organ accompaniment. Morning Star has also recently published my DIVERTIMENTO for organ and string quartet (in one movement, about six = minutes duration) and WEDDING SUITE for solo organ (four movements, hymn-based). It was a great joy on Tuesday evening to hear an outstanding performance at St. Thomas Church, 5th Avenue NYC, by Dr Gerre =   Hancock and his superb choir of my Harvard Service (Magnificat and Nunc Dimittis). Several members of this list greeted me afterwards and it was wonderful to see you all! Thanks to all the friendly colleagues on the = list who keep me informed of their performances of CC compositions! Sincerely, all the best - Charles Callahan  
(back) Subject: Anthem Compilation Resource Info Sought (x post) From: <ScottFop@aol.com> Date: Sat, 20 Jan 2001 15:43:15 EST     --part1_9c.aeae8f5.279b5263_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Does anyone have purchase information on the following resource book:   "A Catalog of Anthems and Motets for the Sundays of Lectionary Years A, B = and C" compiled by William Wunsch, DMA. Copyright by the Anglican Musicians Foundation and William L. Wunsch.   Any information will be most appreciated. Thanks so much!   SCOTT F. FOPPIANO, Principal Organist and Director of Music The National Shrine of the Little Flower, Royal Oak, MI (Geo. Kilgen & Son Pipe Organ Co., St. Louis, MO, Opus 5180, 1933) Staff House Organist, The Fox Theatre, Detroit, MI (Wurlitzer, 1928) "Cantantibus organis Caecilia Domino decantabat dicens: fiat cor meum immaculatum ut non confundar."       --part1_9c.aeae8f5.279b5263_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>Does anyone have = purchase information on the following resource book: <BR> <BR>"A Catalog of Anthems and Motets for the Sundays of Lectionary Years = A, B and <BR>C" compiled by William Wunsch, DMA. &nbsp;Copyright by the Anglican = Musicians <BR>Foundation and William L. Wunsch. <BR> <BR>Any information will be most appreciated. Thanks so much! <BR> <BR><B>SCOTT F. FOPPIANO</B>, Principal Organist and Director of Music <BR>The National Shrine of the Little Flower, Royal Oak, MI <BR>(Geo. Kilgen &amp; Son Pipe Organ Co., St. Louis, MO, Opus 5180, 1933) <BR>Staff House Organist, The Fox Theatre, Detroit, MI (Wurlitzer, 1928) <BR><I>"Cantantibus organis Caecilia Domino decantabat dicens: <BR>fiat cor meum immaculatum ut non confundar."</I> <BR> <BR></FONT></HTML>   --part1_9c.aeae8f5.279b5263_boundary--  
(back) Subject: Manz books From: "Shirley" <pnst@earthlink.net> Date: Sat, 20 Jan 2001 18:16:08 -0500   Given the new configuration of the Manz books by publisher MorningStar, if =   you would choose ONE over the others, which would it be? Which one have you found most useful?   Which selections are the most widely used? Which selections do you have the most fun playing?   --Shirley    
(back) Subject: Paul Manz CD From: "Paul Soulek" <soulek@frontiernet.net> Date: Sat, 20 Jan 2001 18:03:38 -0800   Where can I buy (if I can) a CD of Paul Manz? I have two old records that my dad got when he knew Dr. Manz's son, but they ARE record quality. I really enjoy his music.   Paul  
(back) Subject: RE: Manz books From: "Darrell Coons" <dcoons@netacc.net> Date: Sat, 20 Jan 2001 19:05:52 -0500   > Given the new configuration of the Manz books by publisher > MorningStar, if > you would choose ONE over the others, which would it be? Which one have > you found most useful? >   I have most of the old set, so I haven't purchased any of the new books as the material mostly duplicates what I have already. I make heavy use of = the Christmas selections in the old books (7 and 8 I think).   [Rant] I do wish MorningStar would have kept the old set in print for a while so folks like me could have completed their collection. [End rant]   > Which selections are the most widely used? Which selections do you have > the most fun playing? >   My all-time favorite is Cwm Rhondda - when I play it as a postlude my congregation actually stays and listens, a rarity indeed in my church. I have also used sections of the Partita on St Anne as recital material (and yes, I know that's not in the basic set of books).   Darrell    
(back) Subject: Re: Paul Manz CD From: "william H. Evans" <whevans@softcom.net> Date: Sat, 20 Jan 2001 16:33:15 -0800   At 06:03 PM 1/20/01 -0800, you wrote: >Where can I buy (if I can) a CD of Paul Manz? I have two old records >that my dad got when he knew Dr. Manz's son, but they ARE record >quality. I really enjoy his music. > >Paul > Try www.morningstarmusic.com I purchased two CD's Of Paul Manz from them. Lots of other goodies. Cheers WHE        
(back) Subject: Re: Manz books From: "Pat Maimone" <patmai@juno.com> Date: Sat, 20 Jan 2001 21:49:33 -0500   Hi, Shirley and PipeChatters,   > Given the new configuration of the Manz books by publisher > Morning Star, Hmm.. I do not have their catalog handy to know which ones of the old set are in which volumes of the newer MS set...   That reminds me that tonight I enjoyed listening to excerpts on a cassette tape provided by Morning Star as a sample of some new and "extant" (Rodney Schrank's word) organ music as played by the composers.. Morning Star is hoping that we will be enticed by buy.. It usually works for them in my case...;-) After hearing Charles Callahan's recording of his "Voluntary on 'Engelberg," I ordered that one right away and played it at my recital at the Cadet Chapel in November 1993.   >If you would choose ONE over the others, which would it be? Which one > have you found most useful? From the _old_ set, I found the bright yellow cover (Vol 8??) the most useful.. It contained Azmon "O For a Thousand Tongues to Sing" (choir recruitment hymn ;-) , Nettleton "Come, Thou Fount of Every Blessing" (one of my favorite chorale preludes), Deo Gracias ("O Love, How Fair, How Broad, How High.." and Crucifer ("Lift High the Cross.") I also enjoy the Manz setting of "Look, Ye Saints, the Sight Is Glorious".. perhaps that one is in another volume.. "Cwm Rhondda" is the absolute favorite of one of our former Deans, Jimrae Lenser. Whenever he sits at the console of a pipe organ new to him, he plays it! The Manz setting has also been successfully arranged for handbells.   Best regards to all from the very snowy Hudson Valley (we expect anywhere from 6" - 12" by dawn...   Pat Maimone Past Dean, Central Hudson Valley Chapter, AGO Post Chapel West Point playing at the Cadet Chapel 1030 worship service 21 Jan even if I have to hire a jeep to get me there!   ________________________________________________________________ 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: Re: Theatre Organ Question From: "Gary Blevins" <gsblvns@camalott.com> Date: Sat, 20 Jan 2001 21:51:06 -0600   Hello Vic, I'm no theater organ expert, but I can share with you what I've learned through reading and inquiry. Theater organ's design primarily serves to derive as many combinations of color, harmony, and power as possible through resouces of pipes and other mechanical devices. What governs their placement and use--every rank = would play at every pitch on all the manuals and pedal for the maximum amount of possibilities, but keeping the console uncluttered and less confusing also falls into play. Manuals are the 'virtual' divisions and the chambers are the 'real' divisions. Small organs use chambers such as solo and main. Larger = organs further catagorize such as foundation, main, solo, brass,and percussion. Expression pedals are usually dedicated to their respective divisions (chambers). Manuals select ranks out of the divisions to serve their intended pupose.. Accomp. man. will use the strings and celestes, smaller flutes, small diapasons and reeds which work as accomp. stops. The great pretty much uses all the ranks at all the pitches-you might say, the = melting pot of the manuals. The solo uses the more extravagant ranks best suited for solo purposes. The fourth manual, conventionally called bombard on theater organs, employs the ranks which will produce accent, flare, or = snap to the organists wishes. So, all the manuals have access to ranks in all = of the chambers-it's up to the organist to register the manuals considering = how the ensemble can be expressed as well as how it will sound. How the ranks were set up in the chambers was determined by the company's practices and sometimes by the wishes of the theater's organist. You can see by now that how the ranks usually fall into placement of the chambers would be: vox humana, tibia, trumpet would be in the solo, = -viole, celeste and concert flute and diapason in the accomp. Here is an example- the Jesse Crawford Wurlitzer: 4 manuals: accomp, great, solo, bomb. 5 divisions: main, foundation, solo, brass, percussion. There is a vox humana in four different divisions, a tibia in three divisions, and two different post horns. This is not only for different voicing, but so that the duplicated ranks could be expressed w/ that particular division while the other divisions maintained their own independent expression. The organist can tell which division the stop = comes from by a small symbol above erery stop tab on the stop rail. Hope this helps, -Gary <Victorgan@aol.com> To: pipechat@pipechat.org <pipechat@pipechat.org> Date: Saturday, January 20, 2001 9:25 AM Subject: Theatre Organ Question     >To All You Theatre Organ Personi Out There: > >What are the guidelines/standards/ground rules, if any, as to what = belongs in >what chamber of a Theatre Organ? > >This question also applies not only to the location of the pipes (as per >chamber), but also to what stop tabs should appear on the console in each >Division and at what pitches? (Not necessiarly the order of tabs.) > >For example, on a 3 (Acc/Great/Solo) manual instrument that is installed = in 2 >chambers (Main & Solo), what governs what stops tabs and pitches are to >appear in each division on the console? What is the difference between = the >Accom stops and the Great? Between the Great and the Solo? > >What about a 4 manual Console? Is the 4th manual always called a Bombard? >What should be in this chamber and divisional stops? > >Vic > >"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: Theatre Organ Question From: "Ray Thursby" <raythursby@earthlink.net> Date: Sat, 20 Jan 2001 21:01:09 -0800   Gary Blevins' answer to this question has a few errors that should be addressed. For starters, four-manual theater organs (at least Wurlitzers) had the Solo as their top manual, Bombarde being the third. This was by no means consistent; on some Wurlitzers the third manual was called = Orchestral instead. Other builders used different nomenclature -- the wonderful 4/37 Kimball in the Wiltern Theatre (Los Angeles) had (from bottom to top) Accompaniment, Orchestral, Solo and Percussion manuals. Go figure....   What Gary incorrectly refers to as the "Jesse Crawford" Wurlitzer was more properly (and simply) called the 4-36, or sometimes (erroneously) the "Fox Special." Jess Crawford played one of the five 4-36s built (in the NY Paramount Theatre) and, because of his popularity, the myth that he had = laid out its specification grew. Not so.   And the 4-36 manual layout was the standard Accompaniment-Great-Bombarde-Solo. The organ did indeed have three Tibias and four Voxes, but only one Post Horn, at least until changes were made = by a later organist at the Paramount.   Chamber layout (and the way stops were apportioned to the various manuals) was fairly standard (again, I'm referring to Wurlitzers) but not really firmly fixed. The Main chamber did indeed have primarily accompaniment = ranks (Diapasons, Strings, Flutes, Clarinets and, in the case of medium-size organs, Voxes) while the Solo stops were in (wait for it!) the Solo = chamber. Most two-manual Wurlitzers had all ranks on both manuals; most = three-manual instruments followed a layout roughly similar to that of the company's earliest organs, which had a non-unified Solo division playable only from the Solo manual (or coupled to the Great). This led to some odd = unification later on, even after all ranks were played through relays.   Wurlitzer (and other) builders were somewhat inconsistent in assigning = ranks to the different manuals, and were equally inconsistent in naming the various extensions. Kimball was perhaps the biggest offender here: On the Wiltern instrument mentioned above the Tuba was called Tuba (at 16'), = Flugel Horn (at 8') and Cornet (at 4'), the 4' French Horn was called Ballad = Horn, the 16' French Horn was called Ophicleide (!), the 8' Gemshorn was called Wald Horn, and on and on....   Not that any of this matters much these days. Few organists or hobbyists will put up with an original specification; you are most likely to see the "everything-everywhere-at-every-pitch" syndrome carried to heights the builders couldn't imagine.   This all may be more than most listoids want to know about theater organs, but Vic did ask, so....   Ray Thursby    
(back) Subject: Re: Theatre Organ Specs From: "VEAGUE" <dutchorgan@svs.net> Date: Sun, 21 Jan 2001 00:43:12 -0500   Theatre organ builders differed on their specs. Morton for one, grouped = the foundation stops in one chamber, strings in another, etc.; Barton grouped their pipes in Solo and Main chambers. Their were exceptions, of course.   As for differences between manuals, most were the same -Great and Accompaniment were very closely matched, while the Solo had mostly a major tibia, solo reeds and such.   In two-manual organs, it is Accompaniment and Great; three- manual organs are Accompaniment, Great and Solo; four- manual organs is generally Accompaniment, Great, Solo and Bombard; five-manual organs COULD be Accompaniment, Great Solo, Bombard and Coupler or Trick manual -as was the Robert Vaughn/Chicago Paradise Theatre WurliTzer that George Wright recorded for HiFi back in the fifties. The Chicago Stadium Barton had all = of the above PLUS a Jazz Manual -making six manuals total.   Rick