PipeChat Digest #2197 - Thursday, July 5, 2001
 
RE: Two manual, 30-stop organ
  by "Dan Gawthrop" <Gawthrop@dunstanhouse.com>
30 stop organ
  by "Wayne Grauel" <wgvideo@attglobal.net>
Re: On the fuller Key and beating a dead horse
  by <Posthorn8@aol.com>
Re: 30 stop organ
  by "Bob Elms" <elmsr@albanyis.com.au>
Why those 30 stops?
  by <TubaMagna@aol.com>
Re: 30 stop organ
  by <quilisma@socal.rr.com>
Re: Why those 30 stops?
  by <ScottFop@aol.com>
Re: A "Fuller" key
  by "Steve Chandler" <stevec@open-tech.com>
Re: Why those 30 stops?
  by "Carlo Pietroniro" <organist@total.net>
Re: Video systems
  by <SProt82850@cs.com>
RE: Allen Renaissance
  by "Storandt, Peter" <pstorandt@okcu.edu>
Miking of cantors and choirs
  by <ScottFop@aol.com>
Re: Miking of cantors and choirs
  by "Carlo Pietroniro" <organist@total.net>
 

(back) Subject: RE: Two manual, 30-stop organ From: "Dan Gawthrop" <Gawthrop@dunstanhouse.com> Date: Thu, 5 Jul 2001 07:44:40 -0400   This spec seems very musical and versatile, going beyond the basics to provide some wonderful extras such as the Clarinet and Tremulant on the Great. I'm pleased to see all three essential open 8' stops in the Great = and *three* independent 16' stops in the Pedal (*plus* an additional borrowed one).   I'm puzzled by only one thing, and that's the lack of a reed chorus = anywhere on the organ. As much as I appreciate the luxury of a second 8' Open Diapason in the Swell division, I'd give it up in a second for a 4' = Clarion, which I find much more essential in the repertoire.   If I were the client I would insist on 32 notes in the pedal; that top G appears in one of my own published organ works! :-)   Dan Gawthrop      
(back) Subject: 30 stop organ From: "Wayne Grauel" <wgvideo@attglobal.net> Date: Thu, 05 Jul 2001 07:59:00 -0400   Why do American builders want the trumpet on the swell? This has always = bugged me from playing (not regularly) wicks, reuters, schantz, and a = host of other American organs from the American tradition. You won't find this on your European counterparts... the = trumpet is (usually) on the great with a supporting principal chorus and = often a cornet to go along with it!   This kills a lot of possibilities of registration from wedding = processionals to dialogues, to hymn tunes.   I'm not saying I'm specifically right (as there is no specific right and = wrong when personal taste is involved), I just have had much more = flexibility with the tpt on the great and oboe, krumhorn, etc. on the swell.   Wayne Grauel    
(back) Subject: Re: On the fuller Key and beating a dead horse From: <Posthorn8@aol.com> Date: Thu, 5 Jul 2001 08:03:15 EDT     --part1_ce.16f826e5.2875b183_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   A dead horse? I think I played for that funeral last week. It was in a dead = room.....lol Tim       --part1_ce.16f826e5.2875b183_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>A dead horse? <BR>I think I played for that funeral last week. &nbsp;It was in a dead = room.....lol <BR>Tim <BR> <BR></FONT></HTML>   --part1_ce.16f826e5.2875b183_boundary--  
(back) Subject: Re: 30 stop organ From: "Bob Elms" <elmsr@albanyis.com.au> Date: Thu, 05 Jul 2001 20:05:42 +0800   That may be the European custom (i.e. having a reed chorus on the great rather than the swell on a smallish organ) but it is certainly not the English custom, nor that in my own country here. I notice too that it was not necessarily the custom with some American builders in the 1930s, where in some stoplists I have seen the chorus reeds used on the great actually are placed on the solo, and couplers used to get them down to the great. It would depend on what you want of an organ, and, as far as I am concerned, as a liturgical organist, the traditional full swell sound of reeds and mixtures in a good box is of far more value for accompanimental purposes than an oboe and/or krummhorn as the only swell reeds. Bob E.   Wayne Grauel wrote: > > Why do American builders want the trumpet on the swell? This has always = bugged me from playing (not regularly) wicks, reuters, schantz, and a = host of other American organs from the American > tradition. You won't find this on your European counterparts... the = trumpet is (usually) on the great with a supporting principal chorus and = often a cornet to go along with it!    
(back) Subject: Why those 30 stops? From: <TubaMagna@aol.com> Date: Thu, 5 Jul 2001 08:46:17 EDT   Ladies and Gentlemen:   I'm glad we've begun to discuss organ design a little bit here, because it =   will also throw some light upon preconceived notions, national styles of organbuilding, and the expectations of the average church musician.   The instrument in question is for a synagogue. Hence, no cantus firmus = reed for chorale playing, and no full English swell (one of my favorite = effects) for anthem work.   There are many stops I would have liked to include on the instrument, even =   before adding a third manual, but there is also a budget to be considered here. Therefore, partial enclosure of the Great, a second celeste, a full =   battery of reeds on both manuals, was not possible.   The choice of the reeds was based upon the idea that I would have one of = each flavor: Double taper inverted conical (Oboe), Inverted Conical = (Trumpet), and Half-length cylindrical (Clarinet). Cesar Franck's music told me to = put the two full-length reeds together in the Swell, and the secular Dialogues = of the 18th century French composers told me to put the Cornet Decompose with =   the trumpet for the Grand-Jeu, with the cylindrical reed on the opposing manual. In the 19th century Germanic tradition of Reform Jewish organ design, this stop takes the form of an orchestral Clarinet, with = tremulant, as opposed to a narrow and nasal Krummhorn, or bold and gutteral Cromorne.   The 16' Pedal reed, I felt, should be big for all literature, whether = Bach, Mendelssohn, or Widor. History shows us as far back as the mid-19th = century organ at the synagogue in Dresden that a large-scale 16' Posaune was specified. The spectacular four-manual instrument at the West London Synagogue IS built as a grand English cathedral organ, up through Choir mixtures and solo Tubae, and has magnificent Pedal reeds.   Manual and Pedal strings are de rigeur in synagogue organ design; in our 1997 instrument for Beth-El Chapel here in NYC, there are two sets of strings, one pair of the American Viola Pomposa type, the second pair more =   along the lines of 1860s Cavaille-Coll strings. The Viola Pomposa in the Swell IS extended down to 16' in the Pedal as a Viola Magna, with a preparation for a 32' extension, and its cutting tone is really quite wonderful. Because it is on a unit windchest, it is also used for some of =   the pitches of the 32' Pedal Harmonics, most notably one of the 10-2/3' pitches and the 4-4/7', which makes it sound like a 32' Contrabassoon = under full organ.   Both Mixtures specified for the instrument in question are four ranks, to balance quints against unisons; it is VERY rare that I specify a = three-rank mixture, unless it has very specific breaks and scales. Both of these mixtures break regularly but quickly, so as to be neither too high-pitched =   nor to separate from the plenum, welding to a full ensemble founded upon = the two 8' Diapasons and two 4' Principals. They are also not so high and = spikey as to sound awkward when the manual-to-pedal couplers are engaged.   As far as the coupler question is concerned, yes, there is a full = compliment of couplers, 16, 8, and 4, plus unison couplers to the pedal and a swell octaves to pedal. We normally do not include INTRA manual octave couplers = on the Great (except for an 8ves Graves) unless a client requests it.   The 30-note Pedal compass remains open to debate. We would rather the = client sign the contract -- then we'll build them a 37-note pedalboard if they'd like!!! They are at a crossroads of making decisions here; as I said, = this is going to be their third organ in 150 years or so, and while they have = the funds for a real pipe organ, and they are surrounded by some of the = greatest organs in the world, including some of the finest new trackers to be built = in any era, they have not scratched the digital option off of their list. = While the consultant is an organbuilder, and the principal donor is adamant that =   they invest in a pipe organ to continue their long history of having one, there isn't a single organist on the committee, and despite the amazing acoustic of the building, the Cantor sings into a microphone.   Sebastian Matthaus Gluck New York City  
(back) Subject: Re: 30 stop organ From: <quilisma@socal.rr.com> Date: Thu, 05 Jul 2001 06:13:32 -0700   The problem is that if you want to play 19th century French music, the = Trompette HAS to be in the Swell FIRST; THEN if there's money, chorus = reeds on the Great (AND Choir, which practically NOBODY in the U.S. does).   As to the other reeds, dialogs between the Swell Oboe/Cornet and the Great = Cromorne/Bourdon/Prestant are still possible, though one WOULD wish for a = SECOND Cornet on the Great.   But one can't have everything (grin).   Cheers,   Bud   Wayne Grauel wrote:   > Why do American builders want the trumpet on the swell? This has always = bugged me from playing (not regularly) wicks, reuters, schantz, and a = host of other American organs from the American > tradition. You won't find this on your European counterparts... the = trumpet is (usually) on the great with a supporting principal chorus and = often a cornet to go along with it! > > This kills a lot of possibilities of registration from wedding = processionals to dialogues, to hymn > tunes. > > I'm not saying I'm specifically right (as there is no specific right and = wrong when personal taste is involved), I just have had much more = flexibility with the tpt on the great and oboe, krumhorn, etc. > on the swell. > > Wayne Grauel > > "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: Why those 30 stops? From: <ScottFop@aol.com> Date: Thu, 5 Jul 2001 09:53:31 EDT     --part1_ce.16f900af.2875cb5b_boundary Content-Type: text/plain; charset=3D"UTF-8" Content-Transfer-Encoding: quoted-printable Content-Language: en   In a message dated 7/5/01 8:47:58 AM Eastern Daylight Time, = TubaMagna@aol.co=3D m=3D20 writes:   > The 30-note Pedal compass remains open to debate. We would rather = the=3D20 > client=3D20 > sign the contract -- then we'll build them a 37-note pedalboard if = they'd=3D20 > like!!! =3D20   Sebastian is on the right track here- and in regards to all of his = other=3D20 thinking regarding this design and installation.     They are at a crossroads of making decisions here; as I said, this=3D20 > is going to be their third organ in 150 years or so, and while they have = t=3D he=3D20 > funds for a real pipe organ, and they are surrounded by some of the=3D20 > greatest=3D20 > organs in the world, including some of the finest new trackers to be = built=3D =3D20 > in=3D20 > any era, they have not scratched the digital option off of their list. = =3D20   I have heard digital organ builders say many times in the past that if = a=3D20 church has the space, and more importantly the funds for a real pipe = organ,=3D20 then they should go in that direction. In this day and age of sheetrock = and=3D =3D20 carpeted churches and synagogues, let's face it- most architects don't = even=3D20 know what an organ is, much less a pipe organ that will require chambers.     > the consultant is an organbuilder, and the principal donor is = adamant=3D20 > that=3D20 > they invest in a pipe organ to continue their long history of having = one,=3D20 > there isn't a single organist on the committee,=3D20   There's a BIG red flag in my opinion............why put nonorganists = or=3D20 nonmusicians on an organ committee in the first place?!?!?! They = generally=3D20 look at dollar signs and not music making.     and despite the amazing=3D20 >=3D20   Sounds like the Roman Catholic Church. God forbid that everything is = not=3D20 overmiked and thrust into the congregation's face at arena levels = causing=3D20 static and feedback 90% of the time. This angers me to no end yet it=3D20 continues and does not seem to wane or stop. But, use ONE stop on the = organ=3D =3D20 that might sound different from one person to another and the Priests are = in=3D =3D20 your face claiming that they can't hear the people sing. Well it's no = wonde=3D r=3D20 when the people are used to letting a cantor scream everything at = them=3D20 through a mic all through the Mass all the time.............now THIS = brings=3D20 up a GREAT topic of discussion that I wish someone else would start-=3D20 overmiking cantors and soloists and congregational singing. Why do = Catholic=3D s=3D20 INSIST on overmiked cantors instead of letting the organ lead = congregational=3D =3D20 singing????????? I just got back into the office and have alot to do = right=3D20 now, but believe me when I say I have more than 2-cents' worth of input = on=3D20 this one!   SCOTT F. FOPPIANO, Principal Organist and Director of Music and Liturgy THE NATIONAL SHRINE OF THE LITTLE FLOWER, Royal Oak, MI (Geo. Kilgen & Son, St. Louis, MO, Opus 5180, 1933) =3DE2=3D80=3D9CCantantibus organis Caecilia Domino decantabat dicens, fiat cor meum immaculatum ut non confundar.=3DE2=3D80=3D9D     --part1_ce.16f900af.2875cb5b_boundary Content-Type: text/html; charset=3D"UTF-8" Content-Transfer-Encoding: quoted-printable Content-Language: en   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2>In a message dated = 7/5/01=3D 8:47:58 AM Eastern Daylight Time, TubaMagna@aol.com=3D20 <BR>writes: <BR> <BR><BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-=3D LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">The 30-note Pedal compass = r=3D emains open to debate. &nbsp;We would rather the=3D20 <BR>client=3D20 <BR>sign the contract -- then we'll build them a 37-note pedalboard if = they'=3D d=3D20 <BR>like!!! &nbsp;</FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D3 = FAMILY=3D3D"SANSSER=3D IF" FACE=3D3D"Arial" LANG=3D3D"0"></BLOCKQUOTE> <BR> <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0">Sebastian is on the right track here- and in regards to all=3D20=3D of his other=3D20 <BR>thinking regarding this design and installation. <BR> <BR> <BR>They are at a crossroads of making decisions here; as I said, = this=3D20 <BR><BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-=3D LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">is going to be their = third=3D20=3D organ in 150 years or so, and while they have the=3D20 <BR>funds for a real pipe organ, and they are surrounded by some of = the=3D20 <BR>greatest=3D20 <BR>organs in the world, including some of the finest new trackers to be = bui=3D lt=3D20 <BR>in=3D20 <BR>any era, they have not scratched the digital option off of their list. = &=3D nbsp;</FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D3 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"A=3D rial" LANG=3D3D"0"></BLOCKQUOTE> <BR> <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0">I have heard digital organ builders say many times in = the pa=3D st that if a=3D20 <BR>church has the space, and more importantly the funds for a real pipe = org=3D an,=3D20 <BR>then they should go in that direction. &nbsp;In this day and age of = shee=3D trock and=3D20 <BR>carpeted churches and synagogues, let's face it- most architects don't = e=3D ven=3D20 <BR>know what an organ is, much less a pipe organ that will require = chambers=3D .. <BR> <BR> <BR>While <BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: #0000ff 2px = solid; M=3D ARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">the consultant is = an=3D20=3D organbuilder, and the principal donor is adamant=3D20 <BR>that=3D20 <BR>they invest in a pipe organ to continue their long history of having = one=3D ,=3D20 <BR>there isn't a single organist on the committee, </FONT><FONT = COLOR=3D3D"#=3D 000000" SIZE=3D3D3 FAMILY=3D3D"SANSSERIF" FACE=3D3D"Arial" = LANG=3D3D"0"></BLOCKQUOTE=3D > <BR> <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0">There's a BIG red flag in my opinion............why put = nono=3D rganists or=3D20 <BR>nonmusicians on an organ committee in the first place?!?!?! &nbsp;They = g=3D enerally=3D20 <BR>look at dollar signs and not music making. <BR> <BR> <BR>and despite the amazing </FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D3 = FAMILY=3D =3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0"> <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"><BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: = #0000ff 2px so=3D lid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">acoustic of = the=3D building, the Cantor sings into a microphone.</BLOCKQUOTE> <BR> <BR>Sounds like the Roman Catholic Church. &nbsp;God forbid that = everything=3D20=3D is not=3D20 <BR>overmiked and thrust into the congregation's face at arena levels = causin=3D g=3D20 <BR>static and feedback 90% of the time. &nbsp;This angers me to no end = yet=3D20=3D it=3D20 <BR>continues and does not seem to wane or stop. &nbsp;But, use ONE stop = on=3D20=3D the organ=3D20 <BR>that might sound different from one person to another and the Priests = ar=3D e in=3D20 <BR>your face claiming that they can't hear the people sing. &nbsp;Well = it's=3D no wonder=3D20 <BR>when the people are used to letting a cantor scream everything at = them=3D20 <BR>through a mic all through the Mass all the time.............now THIS = bri=3D ngs=3D20 <BR>up a GREAT topic of discussion that I wish someone else would = start-=3D20 <BR>overmiking cantors and soloists and congregational singing. &nbsp;Why = do=3D Catholics=3D20 <BR>INSIST on overmiked cantors instead of letting the organ lead = congregati=3D onal=3D20 <BR>singing????????? &nbsp;I just got back into the office and have alot = to=3D20=3D do right=3D20 <BR>now, but believe me when I say I have more than 2-cents' worth of = input=3D20=3D on=3D20 <BR>this one! <BR> <BR><B>SCOTT F. FOPPIANO</B>, Principal Organist and Director of Music and = L=3D iturgy <BR>THE NATIONAL SHRINE OF THE LITTLE FLOWER, Royal Oak, MI <BR>(Geo. Kilgen &amp; Son, St. Louis, MO, Opus 5180, 1933) <BR><I>=3DE2=3D80=3D9CCantantibus organis Caecilia Domino decantabat = dicens, <BR>fiat cor meum immaculatum ut non confundar.=3DE2=3D80=3D9D</I> <BR></FONT></HTML>   --part1_ce.16f900af.2875cb5b_boundary--  
(back) Subject: Re: A "Fuller" key From: "Steve Chandler" <stevec@open-tech.com> Date: Thu, 05 Jul 2001 11:04:35 -0500   Peter Harrison wrote:   > I have often suspected that equal temperament is not truly equal, = perhaps as > a result of the beat counting method many tuners use when setting out = the > basic scale. ...... Do they believe it would > create exactly the same scale as a high precision digital tuning aid = which > gave the exactly the same frequency multiples between all semitones? >   Well actually each key does retain some unique character because of the = fingerings required are unique to each key. I know I find improvising in = Db more enjoyable than C major.   > > It has been suggested that key colour could be due to association with = the > character of other known pieces in that key. However, I don't claim to = have > perfect pitch but can nonetheless sense "key colour" in pieces I hear = for the > first time and for which I have never seen the score.   This could be a factor of voicings and fingerings that work in one key, = but not in another. A perfect example of this is first inversion chords, = with my left hand I can grab F, Db and Ab (in ascending order), but not E, C and G.   Any other thoughts?   Steve Chandler www.mp3.com/stevechandler      
(back) Subject: Re: Why those 30 stops? From: "Carlo Pietroniro" <organist@total.net> Date: Thu, 5 Jul 2001 12:17:31 -0400   I love the way people crap on the Roman Catholics...........   Carlo    
(back) Subject: Re: Video systems From: <SProt82850@cs.com> Date: Thu, 5 Jul 2001 12:20:57 EDT     --part1_37.176e87e1.2875ede9_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Dear lists,   Many thanks to all of you for your postings both public and private = regarding my inquiry about video systems in church.   I have been provided with a wealth of information, both technical and practical, and I really appreciate the help and resources. It will take several days to sift through all the e-mails I received and it is great to =   know there is such a wealth of wisdom out there combined with the = willingness to share it!   Thanks again and I hope my design knowledge and organ building expertise = can be of some help to you in the near future.   Steven   --part1_37.176e87e1.2875ede9_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>Dear lists, <BR> <BR>Many thanks to all of you for your postings both public and private = regarding <BR>my inquiry about video systems in church. <BR> <BR>I have been provided with a wealth of information, both technical and <BR>practical, and I really appreciate the help and resources. &nbsp;It = will take <BR>several days to sift through all the e-mails I received and it is = great to <BR>know there is such a wealth of wisdom out there combined with the = willingness <BR>to share it! <BR> <BR>Thanks again and I hope my design knowledge and organ building = expertise can <BR>be of some help to you in the near future. <BR> <BR>Steven</FONT></HTML>   --part1_37.176e87e1.2875ede9_boundary--  
(back) Subject: RE: Allen Renaissance From: "Storandt, Peter" <pstorandt@okcu.edu> Date: Thu, 5 Jul 2001 11:47:30 -0500   Kind of like the rest of us.... :-)   Peter   -----Original Message----- From: Douglas A Campbell [mailto:dougcampbell@juno.com] Sent: Wednesday, July 04, 2001 8:09 AM To: pipechat@pipechat.org Subject: Re: Allen Renaissance         On Tue, 3 Jul 2001 23:08:23 EDT CVStanford@aol.com writes: > Speakers wearing out... > > that is a new one for me............ > > how do they "wear out"......I would be curious to know????? > > Robert! > The speaker cones ( usually made of paper) simply break down due to movement fatigue, and simple age.     Douglas A. Campbell Skaneateles, NY   ________________________________________________________________ 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.   "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: Miking of cantors and choirs From: <ScottFop@aol.com> Date: Thu, 5 Jul 2001 13:27:14 EDT     --part1_115.13e0196.2875fd72_boundary Content-Type: text/plain; charset=3D"UTF-8" Content-Transfer-Encoding: quoted-printable Content-Language: en   In a message dated 7/5/01 12:17:31 PM Eastern Daylight Time,=3D20 organist@total.net writes:     > I love the way people crap on the Roman Catholics........... >=3D20 > Carlo >=3D20   Excuse me, Carlo, but I am a born and baptized Roman Catholic and I play = in=3D20=3D a=3D20 National Shrine. I just know what is proper and what is not. And I do = not=3D20 like overly miked cantors and miked choirs and the rest. =3D20 SCOTT F. FOPPIANO, Principal Organist and Director of Music and Liturgy THE NATIONAL SHRINE OF THE LITTLE FLOWER, Royal Oak, MI (Geo. Kilgen & Son, St. Louis, MO, Opus 5180, 1933) =3DE2=3D80=3D9CCantantibus organis Caecilia Domino decantabat dicens, fiat cor meum immaculatum ut non confundar.=3DE2=3D80=3D9D     --part1_115.13e0196.2875fd72_boundary Content-Type: text/html; charset=3D"UTF-8" Content-Transfer-Encoding: quoted-printable Content-Language: en   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2>In a message dated = 7/5/01=3D 12:17:31 PM Eastern Daylight Time,=3D20 <BR>organist@total.net writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-=3D LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I love the way people = crap=3D20=3D on the Roman Catholics........... <BR> <BR>Carlo <BR></BLOCKQUOTE> <BR> <BR>Excuse me, Carlo, but I am a born and baptized Roman Catholic and I = play=3D in a=3D20 <BR>National Shrine. &nbsp;I just know what is proper and what is not. = &nbsp=3D ;And I do not=3D20 <BR>like overly miked cantors and miked choirs and the rest. <BR>=3D20 <BR><B>SCOTT F. FOPPIANO</B>, Principal Organist and Director of Music and = L=3D iturgy <BR>THE NATIONAL SHRINE OF THE LITTLE FLOWER, Royal Oak, MI <BR>(Geo. Kilgen &amp; Son, St. Louis, MO, Opus 5180, 1933) <BR><I>=3DE2=3D80=3D9CCantantibus organis Caecilia Domino decantabat = dicens, <BR>fiat cor meum immaculatum ut non confundar.=3DE2=3D80=3D9D</I> <BR></FONT></HTML>   --part1_115.13e0196.2875fd72_boundary--  
(back) Subject: Re: Miking of cantors and choirs From: "Carlo Pietroniro" <organist@total.net> Date: Thu, 5 Jul 2001 13:35:34 -0400   Scott, who said I meant YOU when I made that statement???   You've mentioned in the past that you're a devout Roman Catholic, so naturally, I didn't direct that comment to you.   Playing in a "National Shrine" has nothing to do with anything............   Choirs shouldn't be miked at all, unless they're singing from a rear balcony, and even then. The Choir from St. Patrick's Basilica (here in Montreal) sings from the rear balcony, and there are mics up there for = them. Without the mics, they wouldn't be heard very well. Cantors/leaders of = song should sing/lead into mics.   Carlo