PipeChat Digest #2826 - Monday, April 29, 2002
 
VERY LONG:  Easter 5 where love is a four-letter word
  by "Glenda" <gksjd85@access.aic-fl.com>
Re: VERY LONG:  Easter 5 where love is a four-letter word
  by "Hugh Drogemuller" <hdrogemuller@sympatico.ca>
Re: VERY LONG:  Easter 5 where love is a four-letter word
  by <Cremona502@cs.com>
RE: VERY LONG:  Easter 5 where love is a four-letter word
  by "STRAIGHT" <STRAIGHT@infoblvd.net>
a shot across the bow from the Rector (X-posted)
  by <quilisma@socal.rr.com>
Serious Virus warning, Klez Virus
  by "Wayne Grauel" <wayne@eminent-usa.com>
I've waited 27 years
  by <cmys13085@blueyonder.co.uk>
Recital at Kingwood
  by "Roy Redman" <rredman@imagin.net>
Thanks to you . . .
  by "Glenda" <gksjd85@access.aic-fl.com>
Reed stop
  by "Brent Johnson" <brentmj@swbell.net>
Re: Reed stop
  by "john volbeda" <johnvolbeda@hotmail.com>
 

(back) Subject: VERY LONG: Easter 5 where love is a four-letter word From: "Glenda" <gksjd85@access.aic-fl.com> Date: Mon, 29 Apr 2002 06:33:44 -0500   PLEASE DELETE WITHOUT READING IF YOU ARE NOT INTERESTED - I APOLOGIZE FOR THE LENGTH, AND HAVE NOT THE GRACE SUFFICIENT TO SUFFER NASTY NOTES IN REPLY.     St. Agatha's Episcopal Church DeFuniak Springs, Florida Easter 5, Year A   Prelude: music by Percy Whitlock: Andante tranquillo from "Five Short Pieces" After a French air and Dolcezza from "Reflections: Three Quiet Pieces for Organ" Processional hymn: Praise, my soul, the King of heaven (Lauda anima) - H 410 Sequence hymn: Christ is made the sure foundation (Westminster Abbey) - H 518 Offertory hymn: Guide me, O thou great Jehovah (Cwm Rhondda) - H 690 Music during Communion: How lovely is thy dwelling place (Brother James' Air) Glorious things of thee are spoken (Abbot's Leigh) Closing hymn: Joyful, joyful, we adore thee (Hymn to joy) - H 376 Postlude: Fugue No. 1 on the name B-A-C-H - Robert Schumann   Pretty good service - people sang well, and I received compliments on the postlude. I have dispensed with the sung gradual and prayers, and did not even list the special music in the bulletin - apparently a few noticed and commented that they missed them. Sermons have been better the last two weeks.   No, my life-changing decision is not to divorce Rick and take the Harley, although I do appreciate the voices of concern. I already told Rick that if ever I left him or he left me I was letting him have everything but the Bose Wave Radio. Today after church I gave one month's notice in writing. Inasmuch as none of the vestry happened to be at church today, I doubt the minister even opened the letter to see what it was.   The day that the priest banned the Willan Gloria (two weeks ago), a blessing of his new house was scheduled for after church. I was so upset that I missed the turn to his house, and decided not to turn around - I just went home. I prayed really hard and worked hard all week, and got over myself by Thursday. After all, the canons make him the boss, even if his management style sucks. Life goes on.   Thursday afternoon I called the priest's wife to let her know I was going to be running late for stuffing bulletins because I was still in court. She very curtly informed me that she and the priest would not be there - they had meetings later. I could tell she was mad for some reason. Then Thursday night I got home and along with a proposal from an organ builder for the addition of a reed was a note from the priest's wife, that she was "too hurt" by my nonappearance at the house blessing, and that she was "foolish to believe that we were forming a friendship." Stunned, I sat down and wrote her a return letter, apologizing and explaining my absence. In the back of my mind I wondered how she could not know about her husband's actions that morning, and how could missing a house blessing be reason for exile? Several months ago when I was really down about Rick's job, her answer was to shun me, not speak or acknowledge my existence. .   All day Friday at work and on the way to a trial I felt like I was going to have a stroke. I kept saying, "God, what do I keep doing wrong here, that I cannot please these people, my priorities and definitions are apparently different, my best is not good enough, and I am in constant turmoil?" Suddenly a voice came out of nowhere and said, "You don't have to. Why are you still there? Do I have to strike you with lightning to get you to leave?"   Well, I was ready to check myself into the CSU for auditory hallucinations. Then the thought struck me about how wonderful it would be to wake up on Sunday to do what I wanted - sleep in, go on a picnic or a Harley ride, go to whatever church I wanted, go on vacation without working my butt off for two months in advance to find and train a substitute and ensure the bulletins and all other arrangements were made.   Before I could never make this step or consider it, even though around Christmas I had misgivings about starting new projects such as the organ addition or inviting Felix Hell. I offered to leave a few years back when we had the priest from hell, but it didn't materialize. I remembered when Bruce Cornely announced he was leaving his organist position, and I thought then how could any organist not play? I was so obsessed with advancing this little church and this little organ that I could not imagine not being there.   Again I prayed and prayed. "God, don't let me fly off the handle over a note. You know I have started the drive for the reed, and have raised most of the money for Felix Hell to come in December. Are you sure? I don't want to make the wrong decision for the wrong reasons. What will I do with all these organ lessons and music if I leave, and what will happen to the organ and the Lakeside Concert Series?"   Sunday dawned, and I was in dread of going to church. That morning in the shower I prayed, "God, I hate to be like everyone else in the world, but like Gideon I want a sign. I know that there are good reasons to leave - my spiritual well-being is one, and perhaps I have totally misread the congregation and they don't want what I have offered. But there are good reasons to stay. Please help me make the right decision."   Well, at church the first person I saw was the priest, who was nice enough, but started immediately talking to me and the treasurer about the bishop's new thrust to get the churches more focused on witnessing for Christ. I suppressed a smile, for I thought that was a big step for St. Agatha's. Then he told me and the treasurer that he was forming committees to govern the building and grounds, the music and liturgy, education and the "memorial garden" as part of St. Agatha's response to the bishop. The implication that he was no longer happy with the music was not lost on me (this from a man who has left it all to me all this time, and would not even review the draft bulletins or give suggestions on how he wanted things). Then he said that he was about to initiate a second service on Saturday or Sunday, a folk mass with guitars. I surreptitiously looked at the sky and thought, "No, you don't have to hit me with lightning - I get the message and withdraw the fleece."   Monday and Friday I met with the donor of the funds for the organ, and we both cried. He and his sister, another large contributor, have been a second family to me, and I did not want to do anything to destroy their good opinion of me. He was my first organ mentor and teacher before I took formal lessons. I also wrote Hans Hell to let him know about the status of church matters. Then I drafted a letter, stating that I was intending to seek a sabbatical of 3-4 months, but the advent of Father's new plans made it unfair for me to leave temporarily in the middle of change; therefore, I was resigning effective Trinity Sunday, May 26. I have prepared draft bulletins through the first two weeks in June with a diskette, and provided them with the financial statement of the series, along with the mailing list and list of contributors to Felix' recital. My letter stated that I was mad at no one, but needed a break or rest, and did not intend to burn any bridges should they need me in the future.   This decision is like the death of my father, a divorce and having all my teeth extracted without anesthesia, all at the same time. If I stayed until August I would have served here 17 years, as long as I've been an attorney. What will life be like not having to make a daily trek to the church, to practice, do church bulletins, stuff envelopes and do publicity, move furniture, fix broken notes, get the instruments tuned, and tell you silly stories?   Rick is thrilled - he pointed out to me all the ugly things that have happened to me at that church in the time I've been there, and wants to run out and buy an organ for the house. I told him we would first pay off some of the other toys around here. I thought I was having fun all this time, but the other night when I was cleaning out my e-mail archives I read some of my old posts and vignettes, and realized that I was not having much fun, and my spiritual life there has been pretty much a wasteland.   I covet your prayers, because like a battered wife I am scared at leaving the security of the known for the vastness of the unknown. I will still from time to time be asking you all stupid questions, like why in the heck is the melody in Durufle's Prelude and Fugue on the name A-L-A-I-N have more than 5 or 10 notes? And of course how could you live without my inane reviews of concerts? Without a dream the people perish, and my dream is to be Malcolm Wechler (I can never write like him and know all he knows, but one should shoot for the moon).   For the next four weeks I will be playing the heck out of the only pipe organ in the county, with some of my favorite Sunday fare, because it may be my last time at the bench. God only knows, and he is not saying. If future organplaying is not in my future, then those of you who have heard me play can say with feeling, "Thanks be to God."   Regards to all,   Glenda Sutton            
(back) Subject: Re: VERY LONG: Easter 5 where love is a four-letter word From: "Hugh Drogemuller" <hdrogemuller@sympatico.ca> Date: Mon, 29 Apr 2002 09:47:23 -0400   At 06:33 AM 29/04/2002 -0500, Glenda wrote: > (SNIP) > and my dream is to be Malcolm Wechler (I can never write like >him and know all he knows, but one should shoot for the moon). > > > I think Glenda's moon shot hit the target!   HD   > > > >      
(back) Subject: Re: VERY LONG: Easter 5 where love is a four-letter word From: <Cremona502@cs.com> Date: Mon, 29 Apr 2002 14:59:04 EDT     Glenda, I'm so sorry to hear that you have joint the ranks of the disenfranchised. = You have my deepest sympathy and understanding. Not only as an = organist, but as an Episcopalian in the pew, I am so sickened by what is happening = in the church. It has been since last May that I've been in church.   I've had to sell much of my organ music to keep things plugged in and lit, =   but have my very favorites still. Only a few times, I've popped in to = First Baptist and had some quality time with the lovely 70's Casavant. I = enjoyed playing literature and especially enjoyed playing and singing hymns (not = once leaving out a stanza!!!)   You and Rick deserve the time together to have fun with your nice = homestead and with your doggies and kitties. An organ at home would really ease = the pain!!   Since I've been freed-up, I've been writing and have completed a book of short stories involving my three great loves: beagles, pipe organs, and lighthouses. It's been great fun and my novel is now back on track. = I've had to miss an OHS convention and it's possible that I will miss Chicago = as well, but things are startin to move and I feel much happier with this = burden lifted.   Although I think that you will be much happier in a few months, I do sympathize with your present pain. You're in our prayers.   bruce of baskerbeagleville  
(back) Subject: RE: VERY LONG: Easter 5 where love is a four-letter word From: "STRAIGHT" <STRAIGHT@infoblvd.net> Date: Mon, 29 Apr 2002 19:13:56 -0400   Glenda, I don't talk on here very much, but I read it all and learn a lot.   It was just a year ago. I took a Sunday off for the first time in 3 yrs., and we went to Florida for a week's vacation, the week after Easter. The first week vacation we've had in over 10 yrs. We had a wonderful time.   When we came back, there was a meeting of the committee, and the choir director informed me she wanted someone else to play for the choir, and had already made the arrangements.   I was devastated. I have played for them for over 25 years, for free, and while my children were growing up I also did almost every other church job at one time or another also.   I sat there and just didn't know what to say. Blank. And I was angry. I was so angry the next day I went out and drove 14 fenceposts for the chicken yard, and didn't even get any sore muscles! I was so upset I was kind of sick for a while.   They wanted me to continue to play the hymns on the organ, which does pay. So the next week I mustered up everything I had and went. It was hard, really hard. I must admit it was rather satisfying to see that the hotshot piano player discovered that what I had been doing was not as easy as it looked. In fact the new piano player messed up week after week, and they have been doing a lot of a capella singing. I learned under the counter that the choir wasn't very happy either, but they kept singing anyway.   Meanwhile, it seems the piano player had been personally paying the substitute that came in sometimes, and wanted the church to add money for the accompanist to the budget the next year. This while they had borrowed money to pay the heat bill.   Well, in the long run, I no longer had to practice upstairs with the choir before church, so I started doing a little soft warming up ahead of time. People started saying they liked the music before church, and would I please do more of it!   So now, a year later, at this point, I am playing 15 or 20 min. before church every week, then doing a big formal prelude, several times as much music as I was doing before! And it's my choice of music, not struggling with someone else's choice set in a singable key that's difficult to play.   Obviously word got around, I have been substituting at a couple of other churches also, where they liked what I was doing very well, (and where they pay twice as much!)   In other words, what seemed to be heartbreaking at the time has turned into something really good! Without having to work so hard on the choir music, I've been able to improve my organ playing a lot, and enjoy it more!   But it did take time. It's been a whole year. I still struggle not to detest the woman, but in actuality I'm doing better than she is.   So hang in there, just go along as best you can, and I hope your tears will be turned into joy as well.   Diane Straight western NYS          
(back) Subject: a shot across the bow from the Rector (X-posted) From: <quilisma@socal.rr.com> Date: Mon, 29 Apr 2002 16:20:39 -0700   Friends, I welcome your comments. I'm taken aback. I'm sending a copy to the Archbishop.   Bud   *********************************************   Bud:   A few things:   First, the electrical outlet is being taken care of.   Second, I have attached a document containing some thoughts I have about   music, mostly the Minor Propers. We had a conversation about a month ago   during which I said some of what is in this document. But I wanted to put it into writing so that you know my thoughts. This is not intended to intitiate dueling emails. We can talk by phone some more about it. I just need to let you know what I think.   Third, a comment about the 9:00 a.m. For the last several weeks you have   begun a chant just as I begin to give the people communion. I would rather have a period of silence or instrumental music only like we used to have. I like the period of relative silence between the beginning of communion and the time to choir returns and begins to sing. Incidentally, if the choir has no communion anthem ready, I don't mind adding an addtitional congregational communion hymn.   I like the voice of our new chanter. Is what he is singing now the Willan settings?   SS+     Reflections on Music at St. Matthew=92s   Bud:   We talked some time back about the direction of music at 11:00 a.m. at the new church, but I wanted to put my thoughts into writing so that you know where I am coming from.   Reflections on music should begin with an understanding of who we are. St. Matthew=92s is a Book of Common Prayer parish. The Prayer Book has it theological and liturgical flaws, but these are all remedied with appropriate instruction and augmentation.   I have chosen to maintain St. Matthew=92s as a prayer book parish because most Anglicans are prayer book people. Their tradition is the tradition of the Book of Common Prayer. And the Book of Common Prayer is a great tool for evangelism. It is an accessible way for new people to embrace the tradition of the church. It contains a reasonable rule of life and a systematic approach to the Bible.   Some ACC parishes are Missal parishes. For them, the Prayer Book is important only because parts of it are in the Missal. For us, the Prayer Book is the central thing. The Missal is important only in that it provides historical material with which we augment the prayer book services.   Consequently, in our church the Missal-based adornments of the prayer book service are evaluated in terms of how they add to or subtract from the prayer book service. Our 11:00 a.m. service will grow liturgically in our new facility over time. Yet, it will still be governed by the principles mentioned above. Our aim is not a Missal Mass governed by all the rules of Ritual Notes. Our aim is a Book of Common Prayer liturgy augmented by incense and appropriate and edifying ceremonial.   The Minor Propers   In this regard, the Minor Propers bear some comment. I instituted the blue book Minor Propers about ten years ago, mainly because I got tired of trying to pick sequence hymns. The Minor Propers were accepted by the congregation for three reasons. One, the simple and short chants provided a contemplative sense to the service without undue intrusion into the Prayer Book liturgy. Two, they served as transitional elements, covering the ascent to the altar and the moving of the book. And three, they fostered additional congregational participation with the introit Gloria Patri and the Alleluia.   When you arrived, the quality of the Minor Propers increased dramatically. The propers began to be sung to varied settings and all the new settings were sung with greater proficiency than the choir previously exhibited with the blue book. However, the new and better settings never really =93took=94 with the congregation in the same way that old blue book propers took.   Upon reflection, I think there are three reasons for this. One, so many different settings were used and the changes were so frequent that the liturgy never settled into the rhythm it had with the old blue book. Two, the new settings made the propers much longer. The propers were no longer contemplative and Scriptural cover for necessary liturgical action. The Minor Propers became a significant and noticeable addition to the liturgy. And three, the new proper settings virtually eliminated all the congregational participation that took place with the blue book.   Because of the more elaborate Minor Propers, the majority of the congregation felt that there had come to be too much music at the main liturgy,. Bishop Cahoon made the same comment to me when he visited. The general congregational dissatisfaction with the more elaborate propers was a major factor in making the main 9:00 a.m. family service proper free.   I have some concern that we may be looking at what will happen at the 11:00 a.m. service from different perspectives. I get the sense that you see 11:00 a.m. as a old style, Ritual Notes based, Anglo-Catholic Missal Mass with elaborate and varied Minor Propers and service music settings. I have in mind a slightly more augmented and =93higher=94 prayer book servi= ce; a service that includes a greater sense of mystery, but does not lose sight of the fact that we are a church of the Bible and the Prayer Book.   I mentioned in our phone call some time back that I thought that the simple tone 6 and 8 propers at the 11:00 a.m. service worked pretty well. Other 11:00 a.m. attendees told me the same thing. I think they worked for the same reason the original blue book propers worked. They augmented the prayer book liturgy with a contemplative element. They were appropriate and scriptural transitional elements of not undue length. They fostered congregational participation. And they did not change all the time.   What impact the acoustics of the new building will have on this discussion I cannot say. However, I think it is unwise to establish a pattern for the Minor Propers that ignores the parish experience heretofore.   Service Music   We ought to aim to learn new service settings, but here we ought to move slowly. It is probably a conservative and reasonable goal to institute Marialis at some point in time after the move=96perhaps in the fall, perhaps next Advent through Easter.   I know that these limitations are frustrating to you. I know that you would prefer to do more complex and varied settings of both the Minor Propers and the Mass, like some of the churches you have referred to back east and in England. But we are different than those churches. We have a different history and a different mission. Our context and mission will determine the direction of our music.   No doubt some things will change in the new church. Time will tell.   SS+                
(back) Subject: Serious Virus warning, Klez Virus From: "Wayne Grauel" <wayne@eminent-usa.com> Date: Mon, 29 Apr 2002 19:30:17 -0400     http://www.informationweek.com/story/IWK20020417S0003   I am passing this on to everyone. This is not a virus hoax, I always check first.   The Klez virus and several others are making the rounds. I (my anti virus software) have isolated 4 viruses in the last two days. Now I check my mail directly on the server. I had one message that had a file to fix the Klez virus, Read the enclosed article, this is a trojan and in fact is the Klez virus.   < Under no circumstances activate any file that is supposed to "trick the virus software". >   I would seriously recommend that anyone who does not have up-to-the-minute virus get some now. Go to Macafee or Symantac and brief yourself on the this new breed of viruses.   Respectfully, Wayne    
(back) Subject: I've waited 27 years From: <cmys13085@blueyonder.co.uk> Date: Tue, 30 Apr 2002 01:09:02 +0100     Hello,   After 27 years I have done something reckless!   The little masterpiece of an organ which I play was built new in 1975, = since which, the bottom octave of the Koppel Flute has always been a = travesty. Some notes were quiet, some were "buzzy", some were "breathy" = and two hardly spoke at all.   For 27 years, I have written in the tuning book, "Please re-set the = speech etc"   OK, I know it meant taking out half the pipes of the Positive to get to = them, but after 27 YEARS nothing had been done.   To-day I went berserk. I took out all the 2ft Principal & 1.1/3 Quint = pipes of the Positive Organ and gently stacked them (pure tin).   I then approached the Koppel Flute with various "tools". I thought = about it for a while because the organ uses "open foot" voicing and = almost no nicking, which is very critical. To cut a long story short, I = made adjustments to flue-ways, languids etc.=20   Then I got confident and re-set the speech of three pipes on the 2ft = Principal and four pipes of the 1.1/3ft quint.   Getting even more confident, I re-set the speech of bottom D of the 8ft = Principal high in the case.   IT'S ABSOLUTELY MARVELLOUS NOW!!!!!   FINALLY, ALL THE ORGAN WORKS PROPERLY AND SOUNDS WONDERFUL.   I KNEW I should have been a pipe voicer.   Should I now give the tuner the boot?   Regards,   Colin Mitchell UK     PS: Don't try this on your own instrument  
(back) Subject: Recital at Kingwood From: "Roy Redman" <rredman@imagin.net> Date: Mon, 29 Apr 2002 19:13:57 -0500   We had a very exciting and satisfying Houston AGO members recital on our organ at First Presbyterian Kingwood yesterday. Those who played were: Linda Fulton, Joby Bell, Jackson Hearn, David Hilburt, Robert Carty, and   Joseph Painter. This was an amazing display of talent and ability, since most had little preparation time at the organ, but basically just sat down and played. Thanks again for the fine recital, and although there was good attendance, I only wish more could have heard it. Roy Redman    
(back) Subject: Thanks to you . . . From: "Glenda" <gksjd85@access.aic-fl.com> Date: Mon, 29 Apr 2002 20:06:25 -0500   Thank you all - I really am overwhelmed by the posts and your kindnesses to me, dear ones. I am such a tough and mean old bird - I drove an hour this morning to arrive for depositions, and fell on the concrete sidewalk outside the government building, spraining my left ankle and gashing open my right knee (ruining a perfectly good new pair of panty hose in the process) on a defectively designed handicapped curb entrance to the sidewalk (no, I'm not suing!). I managed to drag myself into the building, catch my breath, clean myself up as best I could, and sit through the day of depositions, then drive myself to the doctor, hurting like hell but taking no painkillers.   But just now, sitting with my swollen ankle wrapped and encased in ice, I've read all the wonderful posts from you, and there's precipitation coming from my eyes. It just proves that organ people are almost as nice as lawyers, and a lot better than social workers (not one of whom came to my aid to help me up this morning)!   I had the OHS convention brochure at the computer drooling on it and thinking I might go so that I could meet some more of you, but decided it would be too soon after my "retirement" - I would hate to sit there and sob through all the recitals! It would not be good for my image.   To paraphrase Charlie Dickens, "God bless us every one."   Glenda Sutton (who is still waiting for an answer to her stupid Durufle question)          
(back) Subject: Reed stop From: "Brent Johnson" <brentmj@swbell.net> Date: Mon, 29 Apr 2002 20:17:47 -0500   This is a multi-part message in MIME format.   --Boundary_(ID_qVZLi1jYEevodsQXSl9ZMQ) Content-type: text/plain; charset=3Diso-8859-1 Content-transfer-encoding: 7BIT   Reading a stoplist today, I ran across a reed stop I have not heard = of before. On the Great was an 8' Kopfregal, borrowed at 4' in the Pedal. = I'm curious what sort of reed this would be. The rest of the stoplist = was rather unexciting, of a neo-baroque composition. Can anyone enlighten = me about this stop?   --Boundary_(ID_qVZLi1jYEevodsQXSl9ZMQ) Content-type: text/html; charset=3Diso-8859-1 Content-transfer-encoding: 7BIT   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=3DContent-Type content=3D"text/html; = charset=3Diso-8859-1"> <META content=3D"MSHTML 6.00.2715.400" name=3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D#ffffff> <DIV><FONT face=3DArial size=3D2>&nbsp;&nbsp;&nbsp;&nbsp; Reading a = stoplist today, I ran across a reed stop I have not heard of before.&nbsp; On the Great = was an 8' Kopfregal, borrowed at 4' in the Pedal.&nbsp; I'm curious what sort of = reed this would be.&nbsp; The rest of the stoplist was rather unexciting, of a neo-baroque composition.&nbsp; Can anyone enlighten me about this stop?</FONT></DIV></BODY></HTML>   --Boundary_(ID_qVZLi1jYEevodsQXSl9ZMQ)--  
(back) Subject: Re: Reed stop From: "john volbeda" <johnvolbeda@hotmail.com> Date: Mon, 29 Apr 2002 20:30:28 -0700   Hello Bret,   Good question.   A quick check at the following website . . .     http://www.organstops.org/k/Kopfregal.html   Says the following . . .     A reed stop of the Regal class, so named because of the shape of its resonators (kopf =3D =93head=94). Audsley says:   The usual form of the resonator was that of a short body surmounted by a headpiece in the shape of two truncated cones joined together at their bases; a form which, considerably modified, has been followed in the resonators of the free-reed Cor Anglais. This form, however, was not invariably adopted in the old Kopfregal of the early German = organ-builders.     For more information, refer to the above link.   John Volbeda Southern California   >From: Brent Johnson <brentmj@swbell.net> >Reply-To: "PipeChat" <pipechat@pipechat.org> >To: PIPORG-L@listserv.albany.edu, pipechat@pipechat.org >Subject: Reed stop >Date: Mon, 29 Apr 2002 20:17:47 -0500 > > Reading a stoplist today, I ran across a reed stop I have not heard =   >of before. On the Great was an 8' Kopfregal, borrowed at 4' in the = Pedal. >I'm curious what sort of reed this would be. The rest of the stoplist = was >rather unexciting, of a neo-baroque composition. Can anyone enlighten me =   >about this stop?         _________________________________________________________________ Chat with friends online, try MSN Messenger: http://messenger.msn.com