PipeChat Digest #2359 - Monday, September 10, 2001
 
Organ Crawl in VT xpost
  by "Paul Opel" <popel@sover.net>
POE Danbury-The Penultimate Day 7/19/01
  by "Malcolm Wechsler" <manderusa@earthlink.net>
Re: Young Organists and Degress and Stuff
  by <Oboe32@aol.com>
RE: Young Organists and Degress and Stuff
  by "Joshua F. Edwards" <fbcorganist@att.net>
Beating freq. for a Celeste: constant or pitch dependent?
  by "Ed Steltzer" <steltzer@gwi.net>
Re: back to the value of organs... i must have missed something
  by "John L. Speller" <jlspeller@mindspring.com>
Re: Organ Crawl in VT xpost
  by "John L. Speller" <jlspeller@mindspring.com>
Re: Beating freq. for a Celeste: constant or pitch dependent?
  by "John L. Speller" <jlspeller@mindspring.com>
 

(back) Subject: Organ Crawl in VT xpost From: "Paul Opel" <popel@sover.net> Date: Mon, 10 Sep 2001 06:32:59 -0400   Next Sunday, Sept. 16th, the Vertmon AGO Chapter is sponsoring its annual organ crawl. This year, it is in the far north; we will hear all the = extant pipe organs in St. Alban's, Highgate Falls, and Sheldon.   3:00: Holy Angels R.C. Church; 1892 2-20 Desmarais tracker, demonstrated = by George Mathew, Middlebury College carillonneur.   3:40: First Congregational Church, 1893 2-26 Hook & Hastings tracker, enlarged by Hale & Alexander, 1959, demonstrated by Doris Hughes, organist at the church.   4:20: St. Paul's UMC, 1881 2-25 George Stevens tracker, enlarged by Andover, 1969, demonstrated by Paul Opel.   4:50: St. Luke's Episcopal church; 1889 2-14 Geo. Jardine tracker; demonstrated by Donna Costes, organist of the church. George Mathew will play the church's 10 bell Meneely chime.   5:30: Immaculate Conception (St. Mary's) R.C. Church; 1949 2-19 Casavant, demonstrator TBA.   6:20: St. John's Episcopal Church, Highgate Falls; c. 1837 1-3 (with trumpet!) Henry Erben, demonstrated by Erik Kenyon.   7:00: Grace Episcopal Church, Sheldon; 1833 1-10 Henry Erben tracker, also demonstrated by Erik Kenyon.   All are welcome; e-mail me or call me at 802 775-5403 or our Dean, Edgar Boadway at 603 542 8142 for more information.   Paul Opel   http://www.sover.net/~popel      
(back) Subject: POE Danbury-The Penultimate Day 7/19/01 From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Mon, 10 Sep 2001 12:00:49 -0400   Dear Lists and Friends,   It is Thursday of our P.O.E. Week - the second last day. After the Good Breakfast, it was 9:30 and on-the-bus time for the short run to Immanuel Lutheran Church (where Charles Ives often played the organ). Diagonally across the street is the site of the Baptist church at which Ives, at 14(= !) played the first performance of his Variations on America. If the work was then complete as we know it, t= his young man obviously had fingers! Fittingly, or perhaps not, the site is n= ow occupied by The Bank of Danbury, an enterprise founded by Charles's fathe= r. Because Charles did often play at the Lutheran church, M. P. Moller, when building their new organ in the church, was required to retain the pipes = of the Principal Chorus. They were apparently not pleased. Kevin Warnken, Organist at Immanuel, greeted us warmly, gave us some of the history of t= he place, a bit of which I have quoted above, and turned the program over t= o Prof. Martin Jean of Yale University, whose very practical mission was t= o give the students as comprensive an overview as is possible in one hour, = of what it takes to play hymns well. What a great idea to include this in a Pipe Organ Encounter! I believe a majority of our students had never play= ed a hymn - at least not publically. Several gamely agreed to play. Many too= k careful notes during this information-packed session, which included not only information about musical techniques, but also about the importance = of the text in the treatment of hymns.   Then, it was back on the bus for a visit to the house in which Charles Iv= es was born. This lovely and comfortable house is not in its original location, it hav= ing been moved due to commercial pressures on the original property. Our help= ful hostess on this tour was Nancy Sudik, Director of the Danbury Music Cente= r, a not-commercial organization working for good music in the city of Danbu= ry. She met us at the Lutheran Church and rode the bus with us as we headed t= o the Ives house. She pointed out its original location and other landmarks= as we rode along. Knowing the odd section of Variations on America that has "America" going in two keys= at once, and knowing its inspiration came from a holiday hearing of two marching bands moving in opposite directions playing in two different key= s, it was fun to see the actual city park where this occurred. The park is l= ong and narrow, between the parts of a divided roadway. It is easy to visualize - people standing or perhaps seated within the park while the bands marched by on either side.   In the house, we saw a desk at which Ives worked. Some of the other furniture was actually the family's, but much of what we saw was correct = for the period but not original to the place. I think Ms. Sudik said there wa= s some uncertainty about the history of a handsome square piano in the livi= ng room. It is not certain that Charles Ives played or composed at it, but o= nce again, this is an appropriate piece of the period and if he did not know this instrument, he surely knew one like it. Unfortunately, it was too fragile to play.   Our yellow bus awaited, as did lunch at WestConn, followed by lessons for one last time. The 24 students fanned out to 12 churches with their 12 teachers. Some who were playing in the evening's student recital spent pa= rt of their time at the Congregational Church working out registration and getting accustomed to the 1959 Aeolian-Skinner instrument (with some olde= r Hook & Hastings material). I was teaching two really sharp students who h= ad been well taught at the piano, but were complete beginners at the organ, = and toward the end of the week, I began to worry that my students and several other beginners working with other teachers were going to feel let down a= nd left out if they only stood on the sidelines at what was promising to be something of a gala event. But I also knew that the concentrated work we were doing over the four days, bridging the gap between piano and organ technique, was terribly important, as they explored the instruments they both have available. For them, I think spending most if not all of the ti= me on one carefully chosen piece to present on the final evening would not h= ave fulfilled our mandate. For other more experienced students, I think the w= ork toward a public performance was very important and appropriate. Some students, new to the organ, but advanced in their piano studies, presente= d piano pieces, and some did simple works on the organ and very advanced pi= ano works.   After the usual good dinner at WestConn, the following wonderful concert ensued:   KATE SCOTT-18 (Pittsburgh, PA) - Eugene Gigout, Toccata in B Minor   MARY ELIZABETH LASSETER-16 (Canton, GA) - Georg Philipp Telemann, Fugue i= n e minor,   MARK CORBETT-11 (Southbury, CT) - Telemann, Christ lag in Todesbanden   ILANA OFGANG-19 (New Fairfield, CT) - Johann Pachelbel, Toccata in E Mino= r   MICHAEL ALBERT-19 (Hamden, CT) - Hymn: The Ashgrove.   SEAN PRICE-15 (Metuchen, NJ) - Johann Sebastian Bach, Prelude in C Major = (8 Little)   GEOFF SEELEN-14 (Keene, NH) - Bach, Toccata in D Minor (BWV 565) MALCOLM MATTHEWS-14 (Knoxville, TN - Bach, Fugue in D Minor (BWV 565) (An excellent bit of North-South collaboration!)   KEVIN STALEY-JOYCE-15 (West Roxbury, MA) - Bach, In dir ist Freude   PULSAR LI (North Brunswick, NJ) - Bach, Prelude in F Major (8 Little) And at the Piano: George Gershwin, Prelude No. 3 Nicolai Rimsky-Korsakoff, arr. Rachmaninoff, The Flight of the Bumble Bee   RAYMOND NAGEM-15 (Medford, MA) - Bach, Fugue in D Major (BWV 532!)   PHILIP GILDE-16 (Manchester, NH) - Domenico Zipoli, All' Offertorio   JULIANNE HALE-18 (Goffstown, NH) - John Barr, Wondrous Love And at the Piano: Frederick Chopin, Revolutionary Etude in C Minor   RACHEL HARVESTER-15 (Norwell, MA) - Austin Lovelace, Prelude and Toccata on Old Hundredth   ELIZABETH BERGMAN-18 (St. Johnsbury, VT) - John Barr-Communion (Adoro te devote)   NATHAN LAUBE-13 (Gurnee, IL) - Charles-Marie Widor, Toccata (Symphony V)   ANDREI KARPYUK-19 (Manchester, NH) At the Piano: Bach, Prelude and Fugue in C Minor (WTC, Book 1) Franz Liszt, Etude in C Major   CHRISTOPHER HOULIHAN-14 (Somers, CT) - Marcel Dupr=E9, Antiphon V (How fa= ir and how pleasant art thou)   PETER LUDLOW-14 (Bridgehampton, NY) - Louis Vierne, Carillon (24 Pieces = in Free Style)   I think the above program represents a pretty wonderful achievement for t= he splendid young people who came from a wide area to be part of this week devoted to the Pipe Organ. Stephen Rapp deserves high praise for organizi= ng this event, and also for stage managing it in such a way that all the gre= at potential for confusion was kept completely under control. Things moved cheerfully and efficiently. Page turners and stop pullers were at the rea= dy. The students all stepped to the platform, bowed, announced clearly what t= hey were to play, and set to it. We had a good audience for this event, including a number of parishioners to whom the program was announced on Sunday, and quite a few parents of those playing, including some from a distance who arranged to stay over night, ready to pick up their children after lunch on Friday. I ask your forgiveness for any mistakes that might have crept into the program as reported above. I took careful notes, and hope I got it all right. If you send me corrections, I can include them i= n the final posting.   Tomorrow is a very short day, with only a panel discussion in the morning= , about career concerns for organists, university organ study, and any othe= r concerns that might be brought up by students or the four panelists. Then= , a great outdoor barbecue courtesy of the excellent WestConn Food Service, a= nd for those who lingered just a bit longer, a brief but pungent impromptu dramatic presentation!   To be continued . . . just once more.   Malcolm Wechsler www.mander-organs.com    
(back) Subject: Re: Young Organists and Degress and Stuff From: <Oboe32@aol.com> Date: Mon, 10 Sep 2001 14:37:28 EDT     --part1_110.518674e.28ce6268_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Hey All, It was brought to my attention recently that there was an = idea going around that younger American organists don't know much about the instruments, nor much about how to work with them. I can attest to seeing many inexperienced young organists, but they are just that, YOUNG. At the ripe age of 21, I've held 5 church positions, been the principal organist = on a 77 rank instrument, done apprentice organ work at my college, with = several private builders, and on my own, and I've been to several AGO conventions, =   taken many master classes, and when I sit down at a console, I know my way =   around. True that I'm not playin Messian, Durufle, Reger, or major works = of that scale. None the less, there are many good organists rising in = America. We know our way around the instruments as well! Those who complain about = us have no right to...as THEY should be the ones helping us onto major instruments, practicing and technique tips, and the like! So...please = don't worry, if there are more out there like myself, and I'm sure there are, = the instrument seems to be in good hands.   -Pete Isherwood   --part1_110.518674e.28ce6268_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>Hey All, <BR> = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;It = was brought to my attention recently that there was an idea <BR>going around that younger American organists don't know much about the =   <BR>instruments, nor much about how to work with them. I can attest to = seeing <BR>many inexperienced young organists, but they are just that, YOUNG. At = the <BR>ripe age of 21, I've held 5 church positions, been the principal = organist on <BR>a 77 rank instrument, done apprentice organ work at my college, with = several <BR>private builders, and on my own, and I've been to several AGO = conventions, <BR>taken many master classes, and when I sit down at a console, I know my = way <BR>around. True that I'm not playin Messian, Durufle, Reger, or major = works of <BR>that scale. None the less, there are many good organists rising in = America. <BR>We know our way around the instruments as well! Those who complain = about us <BR>have no right to...as THEY should be the ones helping us onto major <BR>instruments, practicing and technique tips, and the like! So...please = don't <BR>worry, if there are more out there like myself, and I'm sure there = are, the <BR>instrument seems to be in good hands. <BR> <BR>-Pete Isherwood</FONT></HTML>   --part1_110.518674e.28ce6268_boundary--  
(back) Subject: RE: Young Organists and Degress and Stuff From: "Joshua F. Edwards" <fbcorganist@att.net> Date: Mon, 10 Sep 2001 16:21:12 -0400   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0002_01C13A14.9B956260 Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   I agree strongly with you, Pete. Although I haven't done as much as you, = I am only 20, an organ performance major at Carson-Newman College in = Jefferson City, TN. I am the principal organist at First Baptist Church in Seymour, and attend as many of the Knoxville AGO events I can. I am can say that I have learned quite a bit since being in college. I have moved from the 8 little preludes and fugues to Widor's Toccata, Boellmann Suite Gothique, Alain's Litanies. I see myself as an adequate organist able to handle a fairly decent organist position. Would you agree? Yes, those people out there should be encouraging us and teaching us more than criticizing us = for what we don't know. We don't know it because someone has failed to teach = it to us.   Josh Edwards FBC Seymour, TN -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org]On Behalf Of Oboe32@aol.com Sent: Monday, September 10, 2001 2:37 PM To: Piporg-l@listserv.albany.edu; Pipechat@pipechat.org Subject: Re: Young Organists and Degress and Stuff     Hey All, It was brought to my attention recently that there was an = idea going around that younger American organists don't know much about the instruments, nor much about how to work with them. I can attest to = seeing many inexperienced young organists, but they are just that, YOUNG. At = the ripe age of 21, I've held 5 church positions, been the principal = organist on a 77 rank instrument, done apprentice organ work at my college, with several private builders, and on my own, and I've been to several AGO = conventions, taken many master classes, and when I sit down at a console, I know my = way around. True that I'm not playin Messian, Durufle, Reger, or major works of that scale. None the less, there are many good organists rising in America. We know our way around the instruments as well! Those who complain about us have no right to...as THEY should be the ones helping us onto major instruments, practicing and technique tips, and the like! So...please don't worry, if there are more out there like myself, and I'm sure there are, the instrument seems to be in good hands.   -Pete Isherwood   ------=3D_NextPart_000_0002_01C13A14.9B956260 Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D charset=3D3Dus-ascii"> <META content=3D3D"MSHTML 5.50.4134.100" name=3D3DGENERATOR></HEAD> <BODY> <DIV><SPAN class=3D3D920401720-10092001><FONT face=3D3DArial = color=3D3D#0000ff =3D size=3D3D2>I=3D20 agree strongly with you, Pete.&nbsp; Although I haven't done as much as = =3D you, I=3D20 am only 20, an organ performance major at Carson-Newman College in =3D Jefferson=3D20 City, TN.&nbsp; I am the principal organist at First Baptist Church in =3D Seymour,=3D20 and attend as many of the Knoxville AGO events I can.&nbsp; I am can say = =3D that I=3D20 have learned quite a bit since being in college.&nbsp; I have moved from = =3D the 8=3D20 little preludes and fugues to Widor's Toccata, Boellmann Suite Gothique, = =3D Alain's=3D20 Litanies.&nbsp; I see myself as an adequate organist able to handle a =3D fairly=3D20 decent organist position.&nbsp; Would you agree?&nbsp; Yes, those people = =3D out=3D20 there should be encouraging us and teaching us more than criticizing us = =3D for what=3D20 we don't know.&nbsp; We don't know it because someone has failed to =3D teach it to=3D20 us.&nbsp; </FONT></SPAN></DIV> <DIV><SPAN class=3D3D920401720-10092001><FONT face=3D3DArial = color=3D3D#0000ff =3D   size=3D3D2></FONT></SPAN>&nbsp;</DIV> <DIV><FONT face=3D3DArial><FONT size=3D3D2><FONT = color=3D3D#0000ff><SPAN=3D20 class=3D3D920401720-10092001>Josh =3D Edwards</SPAN></FONT></FONT></FONT></DIV> <DIV><FONT face=3D3DArial><FONT size=3D3D2><FONT color=3D3D#0000ff><SPAN=3D20 class=3D3D920401720-10092001>FBC Seymour, =3D TN</SPAN></FONT></FONT></FONT></DIV> <BLOCKQUOTE> <DIV class=3D3DOutlookMessageHeader dir=3D3Dltr align=3D3Dleft><FONT =3D face=3D3DTahoma=3D20 size=3D3D2>-----Original Message-----<BR><B>From:</B> =3D pipechat@pipechat.org=3D20 [mailto:pipechat@pipechat.org]<B>On Behalf Of=3D20 </B>Oboe32@aol.com<BR><B>Sent:</B> Monday, September 10, 2001 2:37=3D20 PM<BR><B>To:</B> Piporg-l@listserv.albany.edu;=3D20 Pipechat@pipechat.org<BR><B>Subject:</B> Re: Young Organists and =3D Degress and=3D20 Stuff<BR><BR></FONT></DIV><FONT face=3D3Darial,helvetica><FONT =3D size=3D3D2>Hey All,=3D20 =3D <BR>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= =3D sp;It=3D20 was brought to my attention recently that there was an idea <BR>going = =3D around=3D20 that younger American organists don't know much about the =3D <BR>instruments, nor=3D20 much about how to work with them. I can attest to seeing <BR>many=3D20 inexperienced young organists, but they are just that, YOUNG. At the =3D <BR>ripe=3D20 age of 21, I've held 5 church positions, been the principal organist =3D on <BR>a=3D20 77 rank instrument, done apprentice organ work at my college, with =3D several=3D20 <BR>private builders, and on my own, and I've been to several AGO =3D conventions,=3D20 <BR>taken many master classes, and when I sit down at a console, I =3D know my way=3D20 <BR>around. True that I'm not playin Messian, Durufle, Reger, or major = =3D works=3D20 of <BR>that scale. None the less, there are many good organists rising = =3D in=3D20 America. <BR>We know our way around the instruments as well! Those who = =3D   complain about us <BR>have no right to...as THEY should be the ones =3D helping us=3D20 onto major <BR>instruments, practicing and technique tips, and the =3D like!=3D20 So...please don't <BR>worry, if there are more out there like myself, = =3D and I'm=3D20 sure there are, the <BR>instrument seems to be in good hands. =3D <BR><BR>-Pete=3D20 Isherwood</FONT> </FONT></BLOCKQUOTE></BODY></HTML>   ------=3D_NextPart_000_0002_01C13A14.9B956260--    
(back) Subject: Beating freq. for a Celeste: constant or pitch dependent? From: "Ed Steltzer" <steltzer@gwi.net> Date: Mon, 10 Sep 2001 20:20:45 -0400   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0007_01C13A36.12A17260 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   I haven't seen this topic on Pipechat before, so I'll try it out; =3D perhaps a builder or two will offer their opinion, or describe their =3D normal practice.   The basic question: Should the beating (difference) frequency for a =3D celeste rank of pipes (relative to its "normal" pitched rank) be a =3D constant value (such as perhaps 2 beats per second), regardless of the =3D key played, or should the beating frequency increase as one plays up the = =3D keyboard? ..... or perhaps a compromise between the two schemes?   The question arises for me because I have a Dulciana unit rank in my =3D home pipe organ which I have tuned to a true quint pitch; it plays a =3D true-tuned 2 2/3 foot pitch (not an equal-tempered pitch). I also wired = =3D that same rank as a celeste (to play against a normally-tuned similar =3D rank) and find that it gives a satisfactory result, and thus gives me =3D two valuable uses for one rank. =3D20   Doing that, however, necessarily means that the beating frequency =3D increases as I play up the scale. Any comments on the basic =3D question, for academic interest?   Thanks! Ed, in Maine       ------=3D_NextPart_000_0007_01C13A36.12A17260 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 http-equiv=3D3DContent-Type content=3D3D"text/html; =3D charset=3D3Diso-8859-1"> <META content=3D3D"MSHTML 5.50.4522.1800" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT face=3D3DArial size=3D3D2>I haven't seen this topic on Pipechat = =3D before, so=3D20 I'll try it out;&nbsp; perhaps a builder or two will offer their =3D opinion, or=3D20 describe their normal practice.</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>The basic question:&nbsp; Should the = =3D beating=3D20 (difference) frequency for a celeste rank of pipes (relative to its =3D "normal"=3D20 pitched rank) be a constant value (such as perhaps&nbsp;2 beats per =3D second),=3D20 regardless of the key played, or should the beating frequency increase =3D as one=3D20 plays up the keyboard?&nbsp;&nbsp;&nbsp;&nbsp; ..... or perhaps a =3D compromise=3D20 between the two schemes?</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>The question arises for me because I = =3D have a=3D20 Dulciana unit rank in my home pipe organ which I have tuned to a true =3D quint=3D20 pitch;&nbsp; it plays a true-tuned 2 2/3 foot pitch (not an =3D equal-tempered=3D20 pitch).&nbsp; I also&nbsp;wired that same rank as a celeste (to play =3D against a=3D20 normally-tuned similar rank) and find that it gives a satisfactory =3D result, and=3D20 thus gives me two valuable uses for one rank.&nbsp;&nbsp;</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Doing that, however, necessarily = means =3D that the=3D20 beating frequency increases as I play up the=3D20 scale.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Any =3D comments=3D20 on the basic question, for academic interest?</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Thanks!&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; = =3D Ed, in=3D20 Maine</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV></BODY></HTML>   ------=3D_NextPart_000_0007_01C13A36.12A17260--    
(back) Subject: Re: back to the value of organs... i must have missed something From: "John L. Speller" <jlspeller@mindspring.com> Date: Mon, 10 Sep 2001 19:27:35 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_000B_01C13A2E.A554F6C0 Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   If the organ is a poor quality one, this ought to enter into the =3D replacement value. However, since replacement value means the cost of a = =3D comparable new instrument, the condition of the instrument, however bad, = =3D ought not to enter into the equation.   John Speller=3D20 ----- Original Message -----=3D20 From: Cremona502@cs.com=3D20 To: pipechat@pipechat.org=3D20 Sent: Sunday, September 09, 2001 8:14 PM Subject: Re: back to the value of organs... i must have missed =3D something     In a message dated 9/9/01 12:39:57 AM Eastern Daylight Time,=3D20 wgvideo@attglobal.net writes:=3D20       Lousy pipe work and an organ that needs a lot of work really can't =3D fall=3D20 under the blanket of replacement cost. though it would be nice!=3D20       I'm curious here.... When estimating the replacement value of an =3D organ for=3D20 insurance purposes, does quality actually enter into the equation? =3D If so,=3D20 how is this adjusted by the carrier   ------=3D_NextPart_000_000B_01C13A2E.A554F6C0 Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META content=3D3D"text/html; charset=3D3Dwindows-1252" =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>If the organ is a poor quality one, = =3D this ought to=3D20 enter into the replacement value.&nbsp; However, since replacement value = =3D means=3D20 the cost of a comparable new instrument, the condition of the =3D instrument,=3D20 however bad, ought not to enter into the equation.</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>John Speller</FONT>&nbsp;</DIV> <BLOCKQUOTE=3D20 style=3D3D"BORDER-LEFT: #000000 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: = =3D 0px; PADDING-LEFT: 5px; PADDING-RIGHT: 0px"> <DIV style=3D3D"FONT: 10pt arial">----- Original Message ----- </DIV> <DIV=3D20 style=3D3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =3D black"><B>From:</B>=3D20 <A href=3D3D"mailto:Cremona502@cs.com"=3D20 title=3D3DCremona502@cs.com>Cremona502@cs.com</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>To:</B> <A=3D20 href=3D3D"mailto:pipechat@pipechat.org"=3D20 title=3D3Dpipechat@pipechat.org>pipechat@pipechat.org</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Sent:</B> Sunday, September 09, =3D 2001 8:14=3D20 PM</DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Subject:</B> Re: back to the value = =3D of=3D20 organs... i must have missed something</DIV> <DIV><BR></DIV><FONT face=3D3Darial,helvetica><FONT size=3D3D2>In a =3D message dated=3D20 9/9/01 12:39:57 AM Eastern Daylight Time, <BR><A=3D20 href=3D3D"mailto:wgvideo@attglobal.net">wgvideo@attglobal.net</A> =3D writes:=3D20 <BR><BR><BR> <BLOCKQUOTE=3D20 style=3D3D"BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; =3D MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"=3D20 TYPE=3D3D"CITE">Lousy pipe work and an organ that needs a lot of work = =3D really=3D20 can't fall <BR>under the blanket of replacement cost. =3D &nbsp;&nbsp;though it=3D20 would be nice! <BR></FONT><FONT color=3D3D#000000 face=3D3DArial =3D lang=3D3D0 size=3D3D3=3D20 FAMILY=3D3D"SANSSERIF"></BLOCKQUOTE><BR></FONT><FONT color=3D3D#000000 = =3D face=3D3DArial=3D20 lang=3D3D0 size=3D3D2 FAMILY=3D3D"SANSSERIF"><BR>I'm curious = here....=3D20 &nbsp;&nbsp;&nbsp;When estimating the replacement value of an organ =3D for=3D20 <BR>insurance purposes, does quality actually enter into the equation? = =3D   &nbsp;&nbsp;If so, <BR>how is this adjusted by the=3D20 carrier</FONT></FONT></BLOCKQUOTE></BODY></HTML>   ------=3D_NextPart_000_000B_01C13A2E.A554F6C0--    
(back) Subject: Re: Organ Crawl in VT xpost From: "John L. Speller" <jlspeller@mindspring.com> Date: Mon, 10 Sep 2001 19:47:21 -0500   "Paul Opel" <popel@sover.net> wrote: To: "PipeChat" <pipechat@pipechat.org>; <PIPORG-L@listserv.albany.edu> Sent: Monday, September 10, 2001 5:32 AM Subject: Organ Crawl in VT xpost     > Next Sunday, Sept. 16th, the Vertmon AGO Chapter is sponsoring its = annual > organ crawl. > 7:00: Grace Episcopal Church, Sheldon; 1833 1-10 Henry Erben tracker, also > demonstrated by Erik Kenyon.   Isn't this the organ on which John Henry Hopkins, Jr., son of the first Bishop of Vermont, composed "We three kings of orient are"?   John Speller    
(back) Subject: Re: Beating freq. for a Celeste: constant or pitch dependent? From: "John L. Speller" <jlspeller@mindspring.com> Date: Mon, 10 Sep 2001 20:29:39 -0500   Ed Steltzer wrote:   >The basic question: Should the beating (difference) frequency for a celeste rank of pipes (relative >to its "normal" pitched rank) be a = constant value (such as perhaps 2 beats per second), regardless >of the key played, or should the beating frequency increase as one plays up the keyboard? ...... >or perhaps a compromise between the two schemes   It is usual to increase the frequency of the beats slightly ascending the keyboard. The beat frequency should also depend on the scale of the pipework. Broad scaled strings should celeste rather slower than narrow orchestral-style strings.   John Speller