PipeChat Digest #2421 - Monday, October 8, 2001
 
Re: Amateurs paving the way for professionals ?????
  by "Wayne Grauel" <wgvideo@attglobal.net>
Proper 22C - the land that time forgot
  by "Glenda" <gksjd85@access.aic-fl.com>
Re: Proper 22C - the land that time forgot
  by "Marika E. Buchberger, LRPS" <marika57@earthlink.net>
Trinity 17 - St. Matthew's Anglican Catholic Church, Newport Beach CA  US
  by <quilisma@socal.rr.com>
Seattle - Philip Glass program - Dennis James & Wurlitzer accompanies fil
  by <MUSCUR@aol.com>
Re: Pipedreams show
  by "Ed Brown" <edbroorg@webtv.net>
Felix's performances
  by <Devon3000@aol.com>
Re: Felix's performances
  by "Douglas A Campbell" <dougcampbell@juno.com>
Re: Felix's performances
  by <RonSeverin@aol.com>
 

(back) Subject: Re: Amateurs paving the way for professionals ????? From: "Wayne Grauel" <wgvideo@attglobal.net> Date: Sun, 07 Oct 2001 07:54:38 -0400   > Subject: Re: Amateurs paving the way for professionals ????? > From: "BridgewaterUMC Director of Music" <bridgewatermusic@hotmail.com> > Date: Sat, 06 Oct 2001 15:09:22 -0400 > > Wayne: > > I applaude your efforts at your church and Im sure they are thankful to = have > you among them.   *************** Thanks, it's also nice to say... I'm not going to be here on such a date, = get a Sub!   > ************************* > > However, I think you misunderstood Glendas comments and the usual > progression of music programs.   ***************************** It's probably more like, seeing the number if churches that take advantage = of the situation.   > ***************************** > I am now a Full time director of music and organist at a church that is = just > barely 38 years old. Its short history is full of some amazing non > professionals and some who later became professionals, building the = program > to the point that they began a full time ministry about 8 years ago. If = it > were not for the dedication and vision of those lay folks I would not = have a > job. Many other churches I have worked for have very similar stories. > > Be careful how quickly you dismiss the role that the non professional = plays. > And as you yourself pointed out, not all professionals do that good of = a > job. > *************************************************   I totally Agree!...   Yes, it's really hard to generalize email. I wasn't dismissing the role of = non-professional, that's a big grey area and professional is really a = "concept" that doesn't apply to a players ability or why churches make the = decisions they do. Let me explain further....   You have a great situation, a relatively young growing church with vision = and making some sensible decisions. Then there's the other side of the = coin...   I was coming from the perspective of the number of churches that have been = around for a long time (generations).   Here's a good example, In Southern PA, there is a Lutheran church that = pays a choir director $15,000.00 for the choir season (Sept. - may) to do = an adult choir of about 10, 2 children's choirs( she gets volunteers to = 1), and a hand bell choir. Her repertoire is mostly crap from those = music in the mountains camps that sounds like the "700 club". Now, what = to they want to pay the organist... $75.00 for two services! If they had = any brains they'd can the Diva and hire an organist who can direct! Talk = about priorities! ( the list could go on and on)   Most of these problems are in rural/older suburban churches. When I was = Dean of Central Md Chapter, you would not believe the number of churches = that called looking for an organist. Aunt Tilly is now 93 and can't play = any longer, they need to look for an organist, talk about a reality check = when they find out what most paid musicians make!   Most of these churches would opt to go with untrained piano players = fighting the organ rather than pay anything. I remember a UCC church that = had a lot of money. they wanted me to take the job. At the time I told = them it would be $14,000.00 They called me and told me I had the job, but = they were going to pay $8,000... needless to say, they had to continue = their search.   The other point that does not factor into the equation is the instrument = that many churches have, some of these churches can be taken out of the = equation because they would not attract qualified organists, all things = being equal!   There are a host of problems as to why churches can and can't get = organists, but some of the same situations tend to surface time and again. = They don't want to pay anything and they would rather settle for = incompetent because it's cheaper, besides... it's only a couple of hours = on Sunday....   I think the concept of "professional organist" is taken out of context. = The traditional concept would be: one who is elevated to the position of = being paid accordingly for their higher level of proficiency and their = ability to do perform a given service over others of lesser ability.   In our profession, this is most often not the case.   Going back to what I think were Glenda's original thoughts, often times = there are numerous people of exceptional ability who are in much lesser = positions (equated to the concept of professional) for various reasons. = Many times these are life choices. There are certainly scores of = individuals who have made the conscious decision early on that other = professional career choices would more advantageous to their goals for = obtaining and sustaining an acceptable living.   I think we have to be objective and look beyond the image of = "professional" in the traditional view and more towards recognition of = God given ability. In my opinion, this is something that the "average = church", under the control and direction of church committees, has no = concept of.   The reality is, that many times, we, as professionals, (from the concept = of our abilities) are judged and graded by people (church committees) who = are totally ignorant and have skewed priorities.   Unfortunately, Art and consumerism often don't mix. In the minds of the = average (at least around here) church, the process of determining their = next organist is not a whole lot different than shopping WalMart, KMart, = and Best Buy for a Microwave, or f sending out bids for lawn care. They = get a series of applicants, look over a piece of paper with some = credentials which are often meaningless, talk to your last pastor (and why = did most of us leave that last position... usually because the we didn't = get along!), and listen to you play 2 or three hymns and a piece of music = that they wouldn't know was played correctly if their lives depended on = it!   As I said before, I do a lot of recording in my other profession and I = could probably be a millionaire if there was a market for "Organ = Bloopers". You know, a recording of a wedding or a service where the = organist hits piston # 8 and goes into something really difficult like = Purcell's Trumpet Voluntary, or Water Music and after the first couple of = phrases gets totally lost because they can't play. Then they start = making up "church chords" with the crescendo pedal mashed to the floor so = it hides all of the erroneous notes in this mass cover-up... until they = get time to regroup for the last phrase! " WOW, that was impressive, = did you hear that, they can really play".   Now for the scary part, these are not volunteers like Glenda... I'm sorry = Glenda, but at $220.00 per month, you really are graciously offering your = time and talents as a personal offering and there's certainly nothing = wrong with that!   Now to get back on track, we have to understand why the church hired A = over B.. Typically, it's a matter of X number of applicants checking into the job, = a high percentage of them never will talk to the committee chairman and = then not apply because the church is way off base in their expectations of = salary.   Then there will be those who go through the motions thinking....   " OK, it's a pretty good organ so I could probably compromise... I know = the other applicants... After they hear what I can do I know they'll meet = me half way, it would only cost them just maybe 10 bucks more for each = rehearsal and each service that I have to do".... WRONG!   This committee of learned and qualified individuals determines... "We can = get that Microwave over here at Best Buy and it's $10.00 cheaper... We = have to be good stewards with our resources".   So... essentially, other than a very small percentage of churches who have = their priorities in order, There are a huge number of institutions out = there who are doing nothing more than accepting bids for their next = organist.... Lowest Bidder wins!   Wayne         > > Craig > > _________________________________________________________________ > Get your FREE download of MSN Explorer at = http://explorer.msn.com/intl.asp > > ---------------------------------------------------------------------- > > Subject: Re: tracker action sqeak boxes > From: "BridgewaterUMC Director of Music" <bridgewatermusic@hotmail.com> > Date: Sat, 06 Oct 2001 15:11:56 -0400 > > Monty: > > For my money Beaufort SC is the prettiest!!!! > > _________________________________________________________________ > Get your FREE download of MSN Explorer at = http://explorer.msn.com/intl.asp > > ---------------------------------------------------------------------- > > Subject: Re: tracker action sqeak boxes > From: <Cremona502@cs.com> > Date: Sat, 6 Oct 2001 16:19:59 EDT > > --part1_116.5b40cf2.28f0c16f_boundary > Content-Type: text/plain; charset=3D"US-ASCII" > Content-Transfer-Encoding: 7bit > > In a message dated 10/6/01 7:42:43 AM Eastern Daylight Time, = RMB10@aol.com > writes: > > > I'm not against trackers, just the thin, screechy, neo-baroque, grate = on the > > ears voicing that so many tracker builders were famous for. > > > > Yet another offensive generalization. (can't you just say what you want = to > without being catty and offensive?). While you're in Florida you = could > hear MORE screechy, neo-baroque, grate on the ears voiced organ on > electropneumatic chests. Very few builders understood what was going = on at > the beginning of this change. > > But, there is no reason to use inflammatory or derogatory language. It = just > is not productive or considerate. > > Please visit the NEWLY RENOVATED Howling Acres at > http://members.tripod.com/Brucon502/ > > Bruce Cornely ~ Cremona502@cs.com > with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" > Duncan, Miles, Molly, and Dewi > > --part1_116.5b40cf2.28f0c16f_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 = 10/6/01 7:42:43 AM Eastern Daylight Time, RMB10@aol.com writes: > <BR> > <BR> > <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I'm not against = trackers, just the thin, screechy, neo-baroque, grate on the ears voicing = that so many tracker builders were famous for. > <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>Yet another offensive generalization. &nbsp;(can't you just say what = you want to without being catty and offensive?). = &nbsp;&nbsp;&nbsp;&nbsp;While you're in Florida you could hear MORE = screechy, neo-baroque, grate on the ears voiced organ on electropneumatic = chests. &nbsp;&nbsp;Very few builders understood what was going on at the = beginning of this change. > <BR> > <BR>But, there is no reason to use inflammatory or derogatory language. = &nbsp;It just is not productive or considerate. > <BR> > <BR>Please visit the NEWLY RENOVATED Howling Acres at = &nbsp;&nbsp;http://members.tripod.com/Brucon502/ > <BR> > <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_116.5b40cf2.28f0c16f_boundary-- > > ---------------------------------------------------------------------- > > Subject: Chris McPhee Plays Rochester Wurlitzer on Oct. 13 = (cross-posted) > From: "Ken Evans" <kevans1@rochester.rr.com> > Date: Sat, 6 Oct 2001 20:53:19 -0400 > > Australian theater organist Chris Mc Phee will entertain at Rochester's > Auditorium Center 4/22 Wurlitzer at 8 p.m. on Saturday, October > 13th. This will mark this young and dynamic performer's debut before a > Rochester audience. > > The Auditorium Center is located at 875 East Main Street, Rochester, NY > 14605. Tickets priced at only $10 each will go on sale at 7 p.m. at the = box > office. > > This will be the last concert at the Auditorium Center until next = January. > RTOS will move to the Eisenhart Auditorium Wurlitzer for events in = November > and December while the "Phantom" returns to the Auditorium Center during > those two months. > > Complete information including Chris McPhee's biography, driving and hotel > information, RTOS membership bonus offer plus lots of pictures are yours > when you visit http://theatreorgans.com/rochestr/ . A very talented = artist, > a famous Wurlitzer and a friendly welcome await you. > > Best regards, Ken Evans, President of RTOS > > ---------------------------------------------------------------------- > End of PipeChat Digest > > "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: Proper 22C - the land that time forgot From: "Glenda" <gksjd85@access.aic-fl.com> Date: Sun, 7 Oct 2001 18:38:18 -0500   Proper 22, Year C St. Agatha's Episcopal Church DeFuniak Springs, Florida   Prelude: Prelude and Fugue in G minor (BWV 535) - J. S. Bach Mein Jesu, der du mich - Johannes Brahms Processional Hymn: Ancient of Days (Albany) - insert Sequence Hymn: Come, labor on (Ora labora) - H 541 Offertory Hymn: O Jesus, I have promised (Nyland) - H 655 Music during Communion: Come, thou fount of every blessing (Nettleton; text H 686) I sought the Lord, and afterward I knew (Faith; text H 689) Closing Hymn: Commit thou all that grieves thee (Herzlich tut mich verlangen) - H 669 Postlude: The Queen's Procession - Oliphant Chuckerbutty   Text of chorale upon which Brahm's prelude is based is translated: "My = Jesus leadeth me, immortal joy to see in life eternal. See how His chosen one sings praise of God's own Son with love eternal." While the text of the opening hymn can be found in the 1982 Hymnal, the tune we use today comes from the 1940 Hymnal.   There's a thread on one of the lists lamenting the use of piano in lieu of organ music in church. Well, today was all organ music, and I thought during the Bach I was going to have to stop and apologize for making too much noise during a couple of loud conversations going on. Then someone = on the back pew right behind me started talking during the Brahms. It keeps building in volume, and he kept building right along with it. I gave = every warning that I was nearing the end of the piece; however, he was booming forth when the organ quit. With the same congregation I get a very different response when the piano is used for prelude/postlude. One can hear a pin drop. It's not that I'm so much better at the piano - it's = that the people here like the piano better.   Speaking of the piano, Anne Marie Nunez from Jacksonville (finishing her doctorate in piano performance at FSU) gave a piano recital this afternoon at the church. I think it restored my faith. Her program was:   Sonata in F Major, K. 332 - W. A. Mozart (1756-1791) Allegro; Adagio; Allegro assai   Estampes - Claude Debussy (1862-1918) Pagodes; Soiree dans Grenade; Jardins sous la pluie   Ballade in G Minor, Op. 23 - Frederic Chopin (1810-1849)   Preludes, Op.23 - Sergei Rachmaninoff (1873-1943) No. 3 in D Minor No. 4 in D major No. 2 in B Flat Major   What a wonderful program, played fabulously well. Although many people = were glued to CNN, we had a good crowd on a gorgeous fall day, and not a squeak was heard during the entire recital. I for some reason kept thinking of Felix Hell - Felix, I don't think of you as a whiz kid. I consider you a virtuosic performer, and don't care how old you are. I love music that thrills me to the marrow - I thought I would start openly weeping during = the Rachmaninoff D major, and that would do my reputation as a dragon lady no good.   We had 7 kids there, all extremely well behaved and attentive. I kept thinking, "If only my tiny organ were big enough to engage Felix, and turn these kids onto something that would light a fire for music like little = can these days." With virtually no music education in the schools, at least down here, there's not much to inspire them to reach musical goals. Hell, = I wanted to turn the clock back 20 years and start over myself (that's = saying a lot, because life was hard the first time around).   Well, I'm tired, the company has left, the sheets are in the washer, and = the leftover curried chicken thingee hors d'oeuvres are all gone, so I will close.   Glenda Sutton        
(back) Subject: Re: Proper 22C - the land that time forgot From: "Marika E. Buchberger, LRPS" <marika57@earthlink.net> Date: Sun, 07 Oct 2001 19:41:23 -0400   Genda...   Long time no speak....June 19th was really fun and it was such a pleasure = to meet you.   I love the stories you tell of all the chatterbox members in the = congregation. You should come to my church if you are ever in the New Jersey area. It's = an orthodox church. Talking in church? NEVER...the priest would throw you = out!   By the way, my church has no organ or piano, in authentic orthodox, it's forbidden. We are modern though, we have pews!!!    
(back) Subject: Trinity 17 - St. Matthew's Anglican Catholic Church, Newport Beach CA USA From: <quilisma@socal.rr.com> Date: Sun, 07 Oct 2001 16:55:58 -0700   Sung Holy Communion and Holy Baptism at 9 a.m.   Voluntary - Dearest Jesu, We Are Here - Bach (ornamented c.f. in soprano, misc. chorale preludes) Processional Hymn - Before the Lord Jehovah's Throne - Winchester New Setting - Willan/Scottish Chant Gradual Canticle - Isaiah 12 - Troutbeck in G (double chant) Post-Baptismal Acclamation - St. Matthew 28:18ff - Russian tone Offertory Anthem - Lord, We Pray Thee - Haydn/Noble (text - Collect of the Day) Does anybody know what this is from? It sounds VERY familiar ... an Agnus Dei? Communion Anthem - Jesus and the Children - Lorenz (grin) - text of the Baptism Gospel Communion Hymn - I Worship Thee, Lord Jesus - Christ Is My Life Kneeling Hymn - My Country, 'Tis of Thee (verse 4) - America Recessional Hymn - Immortal, Invisible - St. Denio Voluntary - Menuetto in B Flat - Wagner   High Mass and Sermon at 11 a.m.   Proper - Justus es, Domine sung by the congregation to Tones 8, 6 and 1 Setting - Willan/Scottish Chant same hymns and organ music   A reasonably good day, though the choir at 9:00 was a bit small ... 1-3-2-2 ... but the one soprano who WAS present was the LOUD one (grin), so we managed. Three choir members are travelling in Europe; one went up the coast to see her son.   Congregations were off at both Masses ... this is a long weekend for us (Columbus Day on Monday) ... I was a bit surprised that people would be travelling.   We heard the news that the bombing of Afghanistan had begun as we came out of the High Mass.   Cheers,   Bud-by-the-Beach        
(back) Subject: Seattle - Philip Glass program - Dennis James & Wurlitzer accompanies film From: <MUSCUR@aol.com> Date: Sun, 7 Oct 2001 20:15:00 EDT   In a continuing effort to integrate the Seattle Paramount Theatre's Wurlitze= r=20 pipe organ with contemporary events, the theatre management is proud to=20 announce house organist Dennis James will be performing a Philip Glass solo=20 organ composition together with a newly created film this Wednesday, October= =20 10th, start time 8:00 p.m.=20   The evening's presentation is part of PHILIP ON FILM, an unprecedented even= t=20 featuring four full-length works for music and film by renowned musician and= =20 composer Philip Glass. Featuring live accompaniment by Philip Glass and his=20 ensemble, PHILIP ON FILM's unique approach allows the audience to view the=20 medium of film as Philip intended - through music. Opening with an evening o= f=20 Shorts (featuring the new solo organ and film performance combination),=20 PHILIP ON FILM also includes the full length films, Dracula, Koyaanisqatsi,=20 Powaqqatsi, and La Belle et la B=EAte through the rest of the week. Subscrib= ers=20 may choose a "Regular Subscription" good for three nights, or a "Glass Pass"= =20 good for all four nights and a reception with Philip Glass and his ensemble.= =20   Paramount Theatre, 911 Pine Street Seattle, WA 98101   Tickets may be purchased in advance at The Paramount Theatre box office=20 Monday through Friday 10am - 6pm. In the evening and on weekends, The=20 Paramount Theatre box office opens 90 minutes prior to performance. For=20 directions to The Paramount box office, the recorded information line at=20 206.682.1414. The box office accepts cash, Visa, Mastercard and American=20 Express. Checks are not accepted. A $2.00 per ticket facility fee is charged= =20 for Paramount Theatre events. No other fees apply when purchasing tickets in= =20 person at the box office. Tickets may also be purchased in person at=20 Ticketmaster ticketcenters. For a ticketcenter close to you, go to=20 http://www.ticketmaster.com. Tickets purchased at a Ticketmaster ticketcente= r=20 are subject to service charges. By Phone: Charge by phone orders can be=20 made through Ticketmaster by calling 206.628.0888 for concert events or=20 206.292.ARTS (2787) for arts events. Ticketmaster phone hours are Monday=20 through Saturday 9am to 9pm and Sunday 10am to 6pm. For other Washington are= a=20 charge by phone numbers, go to http://www.ticketmaster.com/. Tickets=20 purchased by phone are subject to service charge.=20  
(back) Subject: Re: Pipedreams show From: "Ed Brown" <edbroorg@webtv.net> Date: Sun, 7 Oct 2001 22:26:24 -0400 (EDT)     Does anyone know what station Pipedreams is being broadcast on in the New York City area. The regular station lost its antenna durng the Sept 11 disaster. Thanks for the help! Ed    
(back) Subject: Felix's performances From: <Devon3000@aol.com> Date: Sun, 7 Oct 2001 22:41:30 EDT   I've enjoyed all the reviews of Felix, and the lack of description for = what it is that he has, and the "better" performers have that enable them to communicate so effectively. Back in the 70's, I would frequently meet an elderly lady who coached famous opera singers in Chicago, when she would attend either organ programs I was giving or was a part of, or just a = concert by an area orchestra or group of musicians.   She would always greet me with "Ah, the organist that plays "bel canto"". =   She likened this type of playing to a singer, who let the phrases breathe = and set tempos carefully so they would effectively communicate the vocal = quality of the singing melodies or phrases of music. I've since noticed these = traits in many performers, and also noticed the absence of this in many. Does = this help any in trying to pinpoint what it is that Felix does so well? I know =   that when he plays a chorale prelude, I get similar feelings to those when = I heard the many great organists through the years since those 1970's. He = is able to make the melodies "sing", and chorale preludes that I've not been very interested in have a whole new perspective for me. You either "have = it" or you don't. It's very difficult to teach or acquire, though it is = possible if you really work on it to improve. Many times, personality gets in the way, as well as other non-musical influences.   Devon Hollingsworth, in Chicago Suburb, where the Trumpet en Chemade came down on Thursday until construction of a small balcony and "Media Center" (whoopee, not) are completed. The only upside is that we will have a = small balcony for small groups, and the en chemade won't be parting the hair of = the people who sit in the back (it's going a few feet higher in the ceiling).  
(back) Subject: Re: Felix's performances From: "Douglas A Campbell" <dougcampbell@juno.com> Date: Sun, 7 Oct 2001 23:53:48 -0400     Dear Devon,   What is it that Felix has ? Let me try to tell you what I think...(Please understand, I am NOT an organist).   1). The ability to play at blinding speed and still keep everything crisp and clean.   2). An uncany sence of registration that finds the "perfect" registration for a piece, even though it may be well "outside the box".   3). A sense of "line" that allows music to flow.   4). Stage Presence - This is really a multi-part attribute. I do have some background in stagecraft and this is what I see. a). Immediate contact - Felix makes "contact" with his audience at the moment he walks into view. I am not sure that this can be "taught". It is all about "being" there. b). the right balance between Fluidity and Formality in his movements ( off the console) - Felix conveys the assurance of being at ease in front of an audience, without losing a level of formality that conveys respect for the audience. c). A sincere and bright smile that is always present, but never seems forced. d). Enjoyment Factor - Felix always seems to be throughly enjoying what he is doing. He enjoys playing, he enjoys the audience, he enjoys being there. When this is conveyed to the audience, they HAVE to feel good about things. e). Openness to "share". Felix seems to really enjoy talking to an audience after a concert. This further cements a relationship between artist and patrons.   I once went to two performances of solo violinists, both very, very famous. One was abysmal, the other enjoyable. The difference was NOT in their musicality - but in their stage presence.   Although there are far more knowledgeable persons on this list that can speak to Felix's ability to play the instrument, I think my opinions on his stage presence are right on the money.     Douglas A. Campbell Skaneateles, NY       On Sun, 7 Oct 2001 22:41:30 EDT Devon3000@aol.com writes: > I've enjoyed all the reviews of Felix, and the lack of description > for what > it is that he has, and the "better" performers have that enable them > to > communicate so effectively.   ________________________________________________________________ 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/web/.  
(back) Subject: Re: Felix's performances From: <RonSeverin@aol.com> Date: Mon, 8 Oct 2001 00:31:43 EDT     --part1_16a.2099633.28f2862f_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Hi Douglas and Devon:   I think you both captured the essence of this famous young player, Felix Hell. The music sings, and his genuineness of character. I had an opportunity to meet him after a demonstration recital for Rodgers in Seattle. He was very outgoing and friendly, there was great eye contact, and a rock solid confidence. This was no "act" he really loves people, and playing the organ. I also detected a graceful humility. Soli Dei Gloria, that is to say he lives out the concept, To God Be All The Glory!   Regards,   Ron Severin   --part1_16a.2099633.28f2862f_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>Hi Douglas and Devon: <BR> <BR>I think you both captured the essence of this famous young player, <BR>Felix Hell. The music sings, and his genuineness of character. I <BR>had an opportunity to meet him after a demonstration recital for <BR>Rodgers in Seattle. He was very outgoing and friendly, there was <BR>great eye contact, and a rock solid confidence. This was no "act" <BR>he really loves people, and playing the organ. I also detected a <BR>graceful humility. Soli Dei Gloria, that is to say he lives out the <BR>concept, To God Be All The Glory! <BR> <BR>Regards, <BR> <BR>Ron Severin</FONT></HTML>   --part1_16a.2099633.28f2862f_boundary--