PipeChat Digest #2487 - Tuesday, November 6, 2001
 
Re: PipeChat Digest #2484 - 11/04/01
  by "Bob Elms" <elmsr@albanyis.com.au>
Re: PipeChat Digest #2484 - 11/04/01
  by <RonSeverin@aol.com>
Re: New Fisk arrives in Gainesville
  by <Cremona502@cs.com>
Re: Temperments
  by "David Scribner" <david@blackiris.com>
Re: Temperaments
  by <quilisma@socal.rr.com>
RE: PipeChat Digest #2484 - 11/04/01
  by "Emmons, Paul" <pemmons@wcupa.edu>
New England Church Positions
  by <Oboe32@aol.com>
Dennis James & Keaton Silent Film Festival in Rochester (cross-posted)
  by "Ken Evans" <kevans1@rochester.rr.com>
Re: New Fisk arrives in Gainesville
  by "Glenda" <gksjd85@access.aic-fl.com>
Re: PipeChat Digest #2484 - 11/04/01
  by "Bob Elms" <elmsr@albanyis.com.au>
Re: New Fisk arrives in Gainesville
  by <Cremona502@cs.com>
RE: New Fisk arrives in Gainesville
  by "Storandt, Peter" <pstorandt@okcu.edu>
 

(back) Subject: Re: PipeChat Digest #2484 - 11/04/01 From: "Bob Elms" <elmsr@albanyis.com.au> Date: Tue, 06 Nov 2001 04:16:49 -0800   Sorry Ron, but you have made some pretty wild statements there. 1. The evidence from the source I quoted in a previous bulletin was that Bach was far from satisfied with the temperaments of his day, and experimented with equal temperaments. 2. The old temperaments were abandoned in the early 19th Century for piano tuning. Why? The tuning of organs followed. Why if the original temperaments were so good? 3. Your statement that mixtures are out of tune in equal temperament cannot be sustained since mixtures consist of octaves and fifths which are tuned beatless. How can they be "out of tune"? Out of tune with what? 4. I hear what you are saying about your use of Valotti and Kellner. I don 't know Kellner but I have Valotti here and some flat keys do not sound good.In equal temperament they sound fine. 5. Your statement that you use Bach's temperament. Do you? What evidence have you in the light of my first paragraph? I don't think anyone knows what temperament Bach was using. There is evidence that he used some kind of equal temperament and was DISSATISFIED with the usual temperaments of his day. 6. Why does 99% of the organ world use equal temperament, plus all other of the commonly used instruments, piano, brass, woodwind, except strings which are tuned in pure fifths but PLAYED in equal temperament at least when used with other instruments!! Surely if there were better temperaments they would be in common use. The fact that they have been largely abandoned seems to be sending a message.   You can stick to your odd temperaments if you like, Ron, but much of the music I play does not go well in them in several keys. Why should I transpose to avoid what can only be termed faults in the old temperaments? Incidentally I play an organ tuned in equal temperament and it is s thing of true beauty too. So what?   Bob Elms.   RonSeverin@aol.com wrote:   > Bach knew equal temperment and never used it. You guys really go > to extremes with your arguments. Well temper is well temper! For > one thing mixtures and mutations are out of tune with equal. > There is absolutely no charm at all in equal, but it seems to be > the temperment of choice, so be it! I use Tartini Vallotti when ever > I play on Sunday or I use Kellner. I have never had the horror > problems you described. I use standard keys of the liturature including > Bach's. No problems at all. Please explain that! I'm sure you can > dredge up the odd hymn in five flats, well I transpose to two sharps > with no problem. > > His instruments were and are a thing of true beauty. > >    
(back) Subject: Re: PipeChat Digest #2484 - 11/04/01 From: <RonSeverin@aol.com> Date: Tue, 6 Nov 2001 10:50:08 EST   Hi Bob   Let me make it simple for you to understand, I'm not saying every organ needs to be in well temper, but Baroque Organs playing Baroque music sound better in well temper. They are not affected by the modern key signatures, as the music is a pace of the limitations.   I know the composition of mixtures octaves and fifths, I'm not dense or stupid. Even on an 8' principal playing a single root chord in equal with all the pipes in perfect tune, the thirds are out 15-17 beats and so are the sixths. Compound that with additional octaves and mixtures and see what a mess these are. I don't think you've ever checked this out seriously, and that's my point. I even sent to the list a proactive chart that plays these intervals.   It's a myth and a stretch of words to say Bach championed equal temperament. Let's just say it was his dream to play in all keys. Kellner who is still alive in Germany, discovered a form of Bach's many temperament tries, and all keys are possible. If Bach wanted equal, he would have had it straight away. Why fool around with well temper, if he could have had equal. That would have solved all his problems, right! Wrong, he didn't like the results. He remained looking for the perfect well temper.   All this is an academic exercise at the very least. What is the big deal about playing in all keys, and why is it necessary in the first instance? In equal, the octaves are in tune but most if not all the scale intervals are not, and can never be. The thirds and sixths are very much out of tune. You could run this around in circles and you still have the wolf barking at the door no matter what tuning scheme is used. If people would give up on the crazy idea that all keys are necessary, we could have better sounding instruments. My point! All keys are equally out of tune intervallically, and the results are still less than stellar. This after 300 years of argument, you still have a broken system.   Do you get it now?   Ron Severin  
(back) Subject: Re: New Fisk arrives in Gainesville From: <Cremona502@cs.com> Date: Tue, 6 Nov 2001 12:24:24 EST     --part1_12e.7227201.291976c8_boundary Content-Type: text/plain; charset=3D"ISO-8859-1" Content-Transfer-Encoding: quoted-printable   How big of a Fisky is it? You didn't mention a 32' Bombard. :(   Here is the spec..... Alas.. There ern't one! Personally, I'd rather = hav=3D e=3D20 a 32 Bombarde and a Quint 10-2/3. The 32 at Holy Trinity (V-R) does = very=3D20 little, and First Presbyterian's acoustics are quite as live as HT. =3D20 However, the bass response may be different. We shall see!   Great Organ ..Manual I Prestant 16' Octave 8' Spillpfeife 8' Fl=3DFBte harmonique 8' Violoncelle 8' Octave 4' Rohrfl=3DF6te 4' Twelfth 2 2/3' Fifteenth 2' Terz 1 3/5' Mixture V-VII Trommeten 8' Trompette 8'   Positiv Organ ... Manual II Prestant 8' Gedackt 8' Octave 4' Baarpijp 4' Nasard 2 2/3' Doublet 2' Quarte de Nasard 2' Tierce 1 3/5' Scharff IV Dulcian 16' Cromorne 8'   Swell Organ ... Manual III Bourdon 16' Bourdon 8' Fl=3DFBte traversi=3DE8re 8' Viole de gambe 8' Voix c=3DE9leste 8' Principal 4' Fl=3DFBte octaviante 4' Octavin 2' Mixture IV Basson 16' Trompette 8' Hautbois 8' > Bourdon 32' Contrebasse 16' Prestant (Gt) 16' Bourdon (32) 16' Octave 8' Spillpfeife (Gt) 8' Violoncelle (Gt) 8' Octave 4' Posaune 16' Trommeten (Gt) 8' Trompette (Gt) 8' > Positive to Great Swell to Great Swell to Positive Great to Pedal Positive to Pedal Swell to Pedal Swell super to Pedal Octaves graves to Great=3D20       Please visit Howling Acres at http://members.tripod.com/Brucon502/ and wander through the Mall Without Walls Bruce Cornely ~ Cremona502@cs.com =3D20 with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Duncan, Miles, Molly, and Dewi     =3D20   --part1_12e.7227201.291976c8_boundary Content-Type: text/html; charset=3D"ISO-8859-1" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2>How big of a Fisky = is it?=3D You didn't mention a 32' Bombard. :( <BR> <BR>Here is the spec..... &nbsp;Alas.. There ern't one! = &nbsp;&nbsp;&nbsp;Pe=3D rsonally, I'd rather have a 32 Bombarde and a Quint 10-2/3. = &nbsp;&nbsp;&nbs=3D p;The 32 at Holy Trinity (V-R) does very little, and First Presbyterian's = ac=3D oustics are quite as live as HT. &nbsp;&nbsp;However, the bass response = may=3D20=3D be different. &nbsp;&nbsp;We shall see! <BR> <BR><B>Great Organ ..Manual I <BR></B>Prestant = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp=3D ;16' <BR>Octave = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp=3D ;&nbsp;&nbsp;8' <BR>Spillpfeife &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;8' <BR>Fl=3DFBte harmonique &nbsp;&nbsp;&nbsp;8' <BR>Violoncelle &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;8' <BR>Octave = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp=3D ;&nbsp;&nbsp;4' <BR>Rohrfl=3DF6te = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=3D 4' <BR>Twelfth &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2 2/3' <BR>Fifteenth = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2' <BR>Terz = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;1=3D 3/5' <BR>Mixture &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V-VII <BR>Trommeten = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;8' <BR>Trompette = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;8' <BR> <BR><B>Positiv Organ ... Manual II <BR></B>Prestant = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp=3D ;&nbsp;8' <BR>Gedackt = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=3D p;&nbsp;8' <BR>Octave &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp=3D ;&nbsp;&nbsp;4' <BR>Baarpijp = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb=3D sp;4' <BR>Nasard &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2 2/3' <BR>Doublet = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=3D p;&nbsp;2' <BR>Quarte de Nasard &nbsp;&nbsp;&nbsp;2' <BR>Tierce &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;1 3/5' <BR>Scharff = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=3D p;IV <BR>Dulcian = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=3D p;16' <BR>Cromorne = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb=3D sp;8' <BR> <BR><B>Swell Organ &nbsp;... Manual III <BR></B>Bourdon = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=3D &nbsp;16' <BR>Bourdon = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=3D p;&nbsp;8' <BR>Fl=3DFBte traversi=3DE8re &nbsp;&nbsp;8' <BR>Viole de gambe &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;8' <BR>Voix c=3DE9leste &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;8' <BR>Principal = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;4' <BR>Fl=3DFBte octaviante &nbsp;&nbsp;&nbsp;4' <BR>Octavin = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=3D p;&nbsp;2' <BR>Mixture = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=3D p;IV <BR>Basson = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp=3D ;&nbsp;16' <BR>Trompette = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;8' <BR>Hautbois = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb=3D sp;8' <BR><IMG SRC=3D3D"http://www.cbfisk.com/organs/gfx/pedal.gif" = WIDTH=3D3D"200" H=3D EIGHT=3D3D"36" BORDER=3D3D"0"> <BR>Bourdon = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=3D p;32' <BR>Contrebasse &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;16' <BR>Prestant &nbsp;&nbsp;&nbsp;&nbsp;(Gt) &nbsp;16' <BR>Bourdon &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(32) &nbsp;16' <BR>Octave = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp=3D ;&nbsp;&nbsp;8' <BR>Spillpfeife &nbsp;(Gt) &nbsp;&nbsp;8' <BR>Violoncelle &nbsp;(Gt) &nbsp;&nbsp;8' <BR>Octave = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp=3D ;&nbsp;&nbsp;4' <BR>Posaune = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=3D p;16' <BR>Trommeten &nbsp;&nbsp;&nbsp;(Gt) &nbsp;&nbsp;8' <BR>Trompette &nbsp;&nbsp;&nbsp;(Gt) &nbsp;&nbsp;8' <BR><IMG SRC=3D3D"http://www.cbfisk.com/organs/gfx/couplers.gif" = WIDTH=3D3D"200=3D " HEIGHT=3D3D"36" BORDER=3D3D"0"> <BR>Positive to Great <BR>Swell to Great <BR>Swell to Positive <BR>Great to Pedal <BR>Positive to Pedal <BR>Swell to Pedal <BR>Swell super to Pedal <BR>Octaves graves to Great=3D20 <BR> <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"> <BR> <BR>Please visit Howling Acres at = &nbsp;&nbsp;http://members.tripod.com/Bruc=3D on502/ <BR> &nbsp;&nbsp;and wander through the Mall Without Walls <BR>Bruce Cornely &nbsp;&nbsp;&nbsp;&nbsp;~ &nbsp;Cremona502@cs.com &nbsp; <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR> &nbsp;&nbsp;&nbsp;&nbsp;Duncan, Miles, Molly, and Dewi <BR> <BR> <BR></FONT> </HTML>   --part1_12e.7227201.291976c8_boundary--  
(back) Subject: Re: Temperments From: "David Scribner" <david@blackiris.com> Date: Tue, 6 Nov 2001 12:22:17 -0600   At 10:50 AM -0500 11/6/01, RonSeverin@aol.com wrote: >What is the big deal about playing in all keys, and why is it >necessary in the first >instance?   For one very simple reason - there is music written for the instrument in ALL keys! Why exclude some music just because you want some silly, out of date tuning!!   Now do you get it?   David  
(back) Subject: Re: Temperaments From: <quilisma@socal.rr.com> Date: Tue, 06 Nov 2001 11:31:04 -0800   Because I play the Agnus Dei of Pietro Yon's "Mass of the Shepherds" in E flat minor, that's why.   PPPPPFFFFFBBBBBTTTTT!!!!! (grin)   Bud   David Scribner wrote:   > At 10:50 AM -0500 11/6/01, RonSeverin@aol.com wrote: > >What is the big deal about playing in all keys, and why is it > >necessary in the first > >instance? > > For one very simple reason - there is music written for the > instrument in ALL keys! Why exclude some music just because you want > some silly, out of date tuning!! > > Now do you get it? > > David > > "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: PipeChat Digest #2484 - 11/04/01 From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Tue, 6 Nov 2001 13:58:38 -0500   >3. Your statement that mixtures are out of tune in equal temperament cannot be sustained since mixtures consist of octaves and fifths which are tuned beatless. How can they be "out of tune"? Out of tune with what?   I'm not by any means an expert in tunings and temperaments-- but = obviously, if you play a C with a registration including mixtures, you also get one = or more Gs. If these Gs are tuned perfect with the Cs of the same stop and = you play also a G on the keyboard, then the G played will not be in tune with the G in the mixture stop of the C.   >6. Why does 99% of the organ world use equal temperament, plus all other of the commonly used instruments, piano, brass, woodwind, except strings which are tuned in pure fifths but PLAYED in equal temperament at least when used with other instruments!! Surely if there were better temperaments they would be in common use. The fact that they have been largely abandoned seems to be sending a message.   As has been mentioned before, the whole temperament problem exists = basically on keyboard instruments only. The adjustments to intonation are so subtle that other instrumentalists can make them, not to mention singers. One of the reasons that it is bad constantly to play the piano to accompany choir rehearsals is that they hear equal temperament, which is not the way a = good choir sings. They can do better than that. I think it was John Bertalot who said, in effect, that the utter abandonment of equal temperament is necessary for a choir to become first-rate: the piano, even if it has just been tuned, is out of tune. A fine choir, in his experience (which = included King's under both Ord and Willcocks) will first spend time on what most of us think of when perfecting a piece, and then they will spend further time solely on tuning, i.e. adjusting their intervals so that all harmonies are *exactly* in tune.   On the other hand, Bertalot isn't an enemy of equal temperament in its place. Didn't he insist that the organ at Trinity Church, Princeton be tuned in equal temperament, when it had been constructed for something = else? I heard somewhere that a few bass pipes had to be rebuilt or replaced in order to do this. It surprised me that the differences in terms of = speaking length were could ever be considerable even for the lowest notes.   Feel free to correct me if I'm wrong, but it is my understanding that when Bach entitled his collections "Wohltemperierte Klavier" he meant just = that: well temperament, not equal temperament; and he composed a prelude and = fugue in each of the 24 keys to prove that it was possible for well temperament = to handle them all gracefully.   I have heard all kinds of literature played on organs with Kirnberger III tuning without feeling that the tuning was any less appropriate for 19th-20th century compositions than the voicing. The only reason, I felt, that it ever made me uncomfortable was that I simply wasn't used to it. No one organ is going to be perfect for all repertoire if for this reason alone; but I am convinced that we would like much of the early literature better if we did not handicap it by playing it in equal temperament. Vive la difference!   Paul  
(back) Subject: New England Church Positions From: <Oboe32@aol.com> Date: Tue, 6 Nov 2001 17:16:00 EST     --part1_d4.e7ac225.2919bb20_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Hey Gang, I cruise the AGO site form time to time just to see = what's open in the world of church music. I hope to someday be the DOM at a moderately sized parish with bells, a pipe instrument of note, and a few choirs, but we'll see what happens. At any rate, I've noticed this name "Dennis Deyo" coming up on the AGO site whenever an NE church is open. The =   salaries always come in low, the position may have multiple choirs, but it = is said to be 1/4 time. I wonder how valid his leadership in a search = situation is. The fact is that, I spend about 4 to 5 hours a week planning, prepping =   and preparing for my two choirs of 12, then another 4 hours on hymns and organ music. Factor this amount of time into actual rehearsals and = service, and you're at upwards of 15 hours per week, which can easily go up to 20 hours. The ago does NOT say that 8500 is the going rate for this size position. We are "called" in many cases to our posts and to the instrument, = but we also have to establish our art and our instrument, as well as being professionals!   -Pete Isherwood   --part1_d4.e7ac225.2919bb20_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>Hey Gang, <BR> = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;I cruise the AGO site form time to time = just to see what's open in the world of church music. I hope to someday be = the DOM at a moderately sized parish with bells, a pipe instrument of = note, and a few choirs, but we'll see what happens. At any rate, I've = noticed this name "Dennis Deyo" coming up on the AGO site whenever an NE = church is open. The salaries always come in low, the position may have = multiple choirs, but it is said to be 1/4 time. I wonder how valid his = leadership in a search situation is. The fact is that, I spend about 4 to = 5 hours a week planning, prepping and preparing for my two choirs of 12, = then another 4 hours on hymns and organ music. Factor this amount of time = into actual rehearsals and service, and you're at upwards of 15 hours per = week, which can easily go up to 20 hours. The ago does NOT say that 8500 = is the going rate for this size position. <BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;We are "called" in many cases to = our posts and to the instrument, but we also have to establish our art and = our instrument, as well as being professionals! <BR> <BR>-Pete Isherwood</FONT></HTML>   --part1_d4.e7ac225.2919bb20_boundary--  
(back) Subject: Dennis James & Keaton Silent Film Festival in Rochester (cross-posted) From: "Ken Evans" <kevans1@rochester.rr.com> Date: Tue, 6 Nov 2001 19:10:34 -0500   There are still a few tickets at $10 each available for the Buster Keaton Silent Film Festival on Friday, November 9 and Saturday, November 10 evenings at 8 PM. The musical accompaniment will be provided by California's Dennis James playing a 3/12 Wurlitzer theater pipe organ. = The Keaton films will be the Cops, the Boat and Navigator. All 3 will be = shown at each performance.   The Festival will be held in the Eisenhart Auditorium on the Rochester Museum & Science Center Campus at 657 East Avenue, Rochester, NY 14607. = To have tickets held for you at the door, please call (716) 723-5766 for reservations. It is doubtful that tickets will be available at the door without an advance reservation.   Regards, Ken Evans, President, RTOS http://theatreorgans.com/rochestr/    
(back) Subject: Re: New Fisk arrives in Gainesville From: "Glenda" <gksjd85@access.aic-fl.com> Date: Tue, 6 Nov 2001 18:29:50 -0600   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0027_01C166F1.052A6320 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   Bruce, is the new Fisk going up in the gallery where the old organ was? = =3D When will it be finished?   Glenda Sutton (who is thinking of getting her anti-Gator shots and =3D thinking up an excuse to come see it)   ------=3D_NextPart_000_0027_01C166F1.052A6320 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META content=3D3D"text/html; charset=3D3Diso-8859-1" =3D http-equiv=3D3DContent-Type> <META content=3D3D"MSHTML 5.00.2919.6307" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT face=3D3DArial size=3D3D2>Bruce, is the new Fisk going up in = the =3D gallery=3D20 where the old organ was?&nbsp; When will it be finished?</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Glenda Sutton (who is thinking of =3D getting her=3D20 anti-Gator shots and thinking up an excuse to come see=3D20 it)</FONT></DIV></BODY></HTML>   ------=3D_NextPart_000_0027_01C166F1.052A6320--    
(back) Subject: Re: PipeChat Digest #2484 - 11/04/01 From: "Bob Elms" <elmsr@albanyis.com.au> Date: Tue, 06 Nov 2001 16:35:14 -0800   Don't patronise me please Ron. Much of what you have said is in direct contradiction to what I quoted from the OR. OK, are you right and he wrong? From what you say it is obvious you have not understand what I was getting at. No point in arguing about this any longer. It is going nowhere. Bob Elms.   RonSeverin@aol.com wrote: > Hi Bob > Let me make it simple for you to understand, > > Do you get it now? > > Ron Severin > >    
(back) Subject: Re: New Fisk arrives in Gainesville From: <Cremona502@cs.com> Date: Tue, 6 Nov 2001 20:22:03 EST     --part1_57.13b43f1.2919e6bb_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 11/6/01 7:26:43 PM Eastern Standard Time, gksjd85@access.aic-fl.com writes:     > Bruce, is the new Fisk going up in the gallery where the old organ was? =   > When will it be finished? >   The previous organ was installed in the chancel in two chambers facing = down the nave. An antiphonal division was added later in the rear gallery. = In the renovation, the chamber fronts were removed leaving only a large shelf = to hold the new organ. It will look like it's in a case but will actually = not be, except, possibly, for the Great and Positiv. I haven't seen the = plans and the only division I've seen in place is the Swell, which sits in the center of the shelf, right at the edge. It appears that the Great and Positive "case" will sit on the top level of the choir loft (four tiers, I =   believe) and the console will be attached in the center of the case. = Mark Coffey is organist-director, but has a choir accompanist, so I assume he directs anthems, but plays the rest of the service. The gallery has = been purged of all organ stuff and the glass window on the "sound booth" has = been covered over with plaster, and now simply contains the sound equipment. =     Hope this answers your questions.. If not.... ask away!!   Please visit Howling Acres at http://members.tripod.com/Brucon502/ and wander through the Mall Without Walls Bruce Cornely ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Duncan, Miles, Molly, and Dewi     --part1_57.13b43f1.2919e6bb_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 = 11/6/01 7:26:43 PM Eastern Standard Time, gksjd85@access.aic-fl.com = writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Bruce, is the new = Fisk going up in the gallery where the old organ was? &nbsp;When will it = be finished? <BR></BLOCKQUOTE> <BR> <BR>The previous organ was installed in the chancel in two chambers facing = down the nave. &nbsp;&nbsp;An antiphonal division was added later in the = rear gallery. &nbsp;&nbsp;&nbsp;In the renovation, the chamber fronts were = removed leaving only a large shelf to hold the new organ. &nbsp;&nbsp;It = will look like it's in a case but will actually not be, except, possibly, = for the Great and Positiv. &nbsp;&nbsp;I haven't seen the plans and the = only division I've seen in place is the Swell, which sits in the center of = the shelf, right at the edge. &nbsp;&nbsp;It appears that the Great and = Positive "case" will sit on the top level of the choir loft (four tiers, I = believe) and the console will be attached in the center of the case. = &nbsp;&nbsp;&nbsp;Mark Coffey is organist-director, but has a choir = accompanist, so I assume he directs anthems, but plays the rest of the = service. &nbsp;&nbsp;&nbsp;The gallery has been purged of all organ stuff = and the glass window on the "sound booth" has been cov <BR> <BR>Hope this answers your questions.. &nbsp;If not.... ask away!! <BR> <BR>Please visit Howling Acres at = &nbsp;&nbsp;http://members.tripod.com/Brucon502/ <BR> &nbsp;&nbsp;and wander through the Mall Without Walls <BR>Bruce Cornely &nbsp;&nbsp;&nbsp;&nbsp;~ &nbsp;Cremona502@cs.com &nbsp; <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR> &nbsp;&nbsp;&nbsp;&nbsp;Duncan, Miles, Molly, and Dewi <BR></FONT></HTML>   --part1_57.13b43f1.2919e6bb_boundary--  
(back) Subject: RE: New Fisk arrives in Gainesville From: "Storandt, Peter" <pstorandt@okcu.edu> Date: Tue, 6 Nov 2001 19:16:17 -0600   Is the venerable Hinners upstairs still giving interim service?   -----Original Message----- From: Cremona502@cs.com [mailto:Cremona502@cs.com] Sent: Tuesday, November 06, 2001 7:22 PM To: pipechat@pipechat.org Subject: Re: New Fisk arrives in Gainesville     In a message dated 11/6/01 7:26:43 PM Eastern Standard Time, gksjd85@access.aic-fl.com writes:         Bruce, is the new Fisk going up in the gallery where the old organ was? When will it be finished?         The previous organ was installed in the chancel in two chambers facing = down the nave. An antiphonal division was added later in the rear gallery. In the renovation, the chamber fronts were removed leaving only a large shelf to hold the new organ. It will look like it's in a case but will actually not be, except, possibly, for the Great and Positiv. I haven't seen the plans and the only division I've seen in place is the Swell, = which sits in the center of the shelf, right at the edge. It appears that the Great and Positive "case" will sit on the top level of the choir loft = (four tiers, I believe) and the console will be attached in the center of the case. Mark Coffey is organist-director, but has a choir accompanist, so = I assume he directs anthems, but plays the rest of the service. The = gallery has been purged of all organ stuff and the glass window on the "sound = booth" has been cov   Hope this answers your questions.. If not.... ask away!!   Please visit Howling Acres at http://members.tripod.com/Brucon502/ and wander through the Mall Without Walls Bruce Cornely ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Duncan, Miles, Molly, and Dewi