PipeChat Digest #3037 - Monday, August 12, 2002
 
Re: Handel's Messiah
  by "Stephen Barker" <steve@ststephenscanterbury.freeserve.co.uk>
Re: Handel's Messiah
  by "noel jones" <zimbelstern@onemain.com>
RE: Handel's Messiah
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
Re: Effects of changing wind pressure, et al.
  by "Mark Koontz" <markkoontz@yahoo.com>
RE: Effects of changing wind pressure, et al.
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: Drawknobs
  by "Emmons, Paul" <pemmons@wcupa.edu>
Re: Effects of changing wind pressure, et al.
  by "Stanley Lowkis" <nstarfil@attbi.com>
Re: semi-new topic....
  by <Cremona502@cs.com>
Re: semi-new topic
  by <Cremona502@cs.com>
Re: Worshipful atmosphere
  by <Cremona502@cs.com>
Re: Handel's Messiah
  by <Cremona502@cs.com>
Re: New Topics
  by <Cremona502@cs.com>
Strings vs. Celeste
  by <RMB10@aol.com>
Worshipful Atmosphere/Clapping--off topic
  by <RMB10@aol.com>
Last Sunday
  by "Emmons, Paul" <pemmons@wcupa.edu>
 

(back) Subject: Re: Handel's Messiah From: "Stephen Barker" <steve@ststephenscanterbury.freeserve.co.uk> Date: Mon, 12 Aug 2002 10:36:12 +0100   The Watkins-Shaw edition published by Novello (the big Orange coloured = copy) has got direction for organ throughout the accompaniment although I have = to be honest, I've never played this on the organ so I don't know really how good it is!   Steve Canterbury UK     ----- Original Message ----- From: "Alex Oldroyd" <droydmaester@fastmail.fm> To: <pipechat@pipechat.org> Sent: Monday, August 12, 2002 5:59 AM Subject: Handel's Messiah     > I have been asked to accompany a 60 person choir which will perform some > selections (Hallelujah Chorus, For Unto Us a Child is Given, Glory to = God in > the Highest) from Handel's Messiah. Does anyone know where to find the > ORGAN score for these? > > Thanks! > -Alex > > > "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: Handel's Messiah From: "noel jones" <zimbelstern@onemain.com> Date: Mon, 12 Aug 2002 09:40:56 -0400   While I have used the Schirmer score like Bud, it is rather pianistic, so = I have used the Watkins-Shaw edition for many years, much more like a = continuo part with solo lines so easier to play from the organ.   I would highly recommend using this score rather than an organ part...it = makes it much easier to find out where you are if you have a warthog moment...     A lovely and very proper church lady from Down Under explained that they = use this phrase for memory lapses since the warthog, if distracted while...um, lovemaking....will forget what he's doing and wander off...   -- noel jones        
(back) Subject: RE: Handel's Messiah From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Mon, 12 Aug 2002 09:52:27 -0400   Now where were we! --RBC   > the warthog, if distracted while...um, lovemaking....will forget what he's doing and wander off...   -- noel jones      
(back) Subject: Re: Effects of changing wind pressure, et al. From: "Mark Koontz" <markkoontz@yahoo.com> Date: Mon, 12 Aug 2002 07:43:10 -0700 (PDT)   Thanks to all who replied, confirming my suspicions and providing more = details. I realize that one might infer that I would personally attempt some = corrective action. All evidence to the contrary, I do have enough sense to know my limits. I am comfortable spot-tuning and that's it. I would even = hesitate to spot-tune the mixture!   Thanks again!   Mark   p.s. I really learn a lot from this list. I'm often saving notes for = future reference. I don't have an organ teacher, so (for now) you guys are it! = I even benefit from the pipe v. electronic witch trials, as long as there's = some signal in the noise. Thanks to all!   __________________________________________________ Do You Yahoo!? HotJobs - Search Thousands of New Jobs http://www.hotjobs.com  
(back) Subject: RE: Effects of changing wind pressure, et al. From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Mon, 12 Aug 2002 10:56:03 -0400   I can't WAIT for the next burning at the stake. Ah, ha, ha, ha, haaaaaaaaaaaaaaaaaaa. Bubble,bubble toil and = troublllllllllllllllllllllllle. RBC Eeee, heeee, heeee,heeee, heeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee. I'm out off dried liver of elk.   =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D p.s. ... I even benefit from the pipe v. electronic witch trials,   __________________________________________________  
(back) Subject: RE: Drawknobs From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Mon, 12 Aug 2002 10:56:38 -0400   Dennis Steckley writes:   > I've never played one, but they look more convenient than traditional cheek drawknobs.   I've never played one, either, but to me it looks as though the = convenience ends with the fact that the console and probably the music rack can be lower. (1) Every knob pulls out at a different angle. Doesn't this make = it difficult to draw more than one knob at a time? On a drawknob console, = you can push or pull several at a time. If they are well designed, three or four of the principal chorus knobs are aligned vertically. (2) The fact that the stop jambs are terraced along with the manuals suggests a one-to-one correspondence. But: if this intuitive arrangement is = followed, you get each division's stops divided on the two sides. As Bud pointed = out, you are likely to need both hands to make substantial changes for any division. Whether this arrangement is followed (a division's stops on = both sides) or not (a division's stops on more than one level), adjustments are not likely to be possible with a single reach of a single hand. (3) Where = do the pedal stops go? (4) Some divisions are likely to have markedly fewer stops than others. Odds-and-ends are almost inevitable that don't go in = any logical place, only wherever they can be physically fit in.   >Drawknobs are functional on a traditional slider chest; IMNSHO they are NOT a convenient way to change registration! It's much simpler to flip stop tabs on or off; even tilting tablets are a bit more convenient   Some people say this, but my experience is that your aim has to be very good, and so do your eyes, because everything looks and feels pretty much like everything else. Although on a drawknob = console you might have to reach farther, the patterns in the physical layout = assist in quickly identifying the stops you want to manipulate. This is true because the layout is in two dimensions, not just one. As I mentioned above, the stops of a given chorus very often fit a configuration such = that one can push or pull them as a group, and yet the overall arrangement of the stops can be lowest = ranks (bottom), higher ranks, reeds, couplers, so that the resources can be = found at a glance. Very seldom do, e.g. the principals in a line of stop tabs = fit a pattern such that they can be quickly controlled together like this.      
(back) Subject: Re: Effects of changing wind pressure, et al. From: "Stanley Lowkis" <nstarfil@attbi.com> Date: Mon, 12 Aug 2002 11:23:37 -0400       "COLASACCO, ROBERT" wrote: > > I can't WAIT for the next burning at the stake. Ah, ha, ha, ha, > haaaaaaaaaaaaaaaaaaa. Bubble,bubble toil and = troublllllllllllllllllllllllle. > RBC Eeee, heeee, heeee,heeee, heeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee. = I'm > out off dried liver of elk.   I must Confess that I've burned the steak while grilling. It's refreshing to read your exuberant sense of Prose.   Stan    
(back) Subject: Re: semi-new topic.... From: <Cremona502@cs.com> Date: Mon, 12 Aug 2002 11:27:12 EDT     --part1_89.1c239ab2.2a892dd0_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 8/12/02 2:36:51 AM !!!First Boot!!!, jonberts@magiccablepc.com writes:     > I wonder if churches that use the CD stuff for accompaniment > realize that each time they do, the take away an opportunity for > an individual or real group to perform.   Apparently not. I recall watching a mini-mega-church on TV one Sunday evening. They have an orchestra, concert grand piano and a 4 manual R+ pipes. A soloist stood to sing her announced solo, "How Great Thou Art." = The accompaniment began with the orchestral strings and the un-clued = camera man zoomed in on the violin section -- all were sitting idle with their instruments in their lap. Next the harp began arpeggiating and the poor cameraguy tried again, zooming in on the harpist, who was reading her = Bible. Next entered the piano.... zoom to the piano... no one home! ditto = for the organ. FINALLY, the soloist actually began singing (or was she lip syncing?). It was really a sad site.   Bruce in the Muttastery at Howling Acres = http://members.tripod.com/Brucon502 ....an opportunity for health & wealth http://visionsuccess.com/BC2053   --part1_89.1c239ab2.2a892dd0_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 = 8/12/02 2:36:51 AM !!!First Boot!!!, jonberts@magiccablepc.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 wonder if = churches that use the CD stuff for accompaniment <BR>realize that each time they do, the take away an opportunity for <BR>an individual or real group to perform. &nbsp;</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>Apparently not. &nbsp;I recall watching a mini-mega-church on TV one = Sunday evening. &nbsp;They have an orchestra, concert grand piano and a 4 = manual R+ pipes. &nbsp;&nbsp;A soloist stood to sing her announced solo, = "How Great Thou Art." &nbsp;&nbsp;&nbsp;The accompaniment began with the = orchestral strings and the un-clued camera man zoomed in on the violin = section -- all were sitting idle with their instruments in their lap. = &nbsp;&nbsp;Next the harp began arpeggiating and the poor cameraguy tried = again, zooming in on the harpist, who was &nbsp;reading her Bible. = &nbsp;&nbsp;Next entered the piano.... zoom to the piano... no one home! = &nbsp;&nbsp;&nbsp;ditto for the organ. &nbsp;&nbsp;FINALLY, the soloist = actually began singing (or was she lip syncing?). &nbsp;&nbsp;&nbsp;It was = really a sad site. <BR> <BR>Bruce in the Muttastery at Howling Acres = http://members.tripod.com/Brucon502 <BR>...an opportunity for health &amp; wealth = &nbsp;http://visionsuccess.com/BC2053</FONT></HTML>   --part1_89.1c239ab2.2a892dd0_boundary--  
(back) Subject: Re: semi-new topic From: <Cremona502@cs.com> Date: Mon, 12 Aug 2002 11:30:35 EDT     --part1_7e.2bf379bc.2a892e9b_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 8/12/02 2:49:11 AM !!!First Boot!!!, jhumbert@ptd.net writes:     > Well, partway through the song, the CD player just up > and quits. The ladies finished the verse sans music (it was the best = part > of the whole song), then stopped and asked the sound man to "start it = back > up at number 51."   I recall an hilarious occurrence in which a momentary power break stopped = the digital recorder in the middle of a solo accompaniment. The soloist = stopped and waited for the cue-up, the tape resumed and after listening for a = moment, the soloist resumed singing. Unfortunately, the next words were, "and = why, Lord, does this happen to me?" The soloist and the congregation all = burst into laughter and.... it was over! ;-)   Bruce in the Muttastery at Howling Acres = http://members.tripod.com/Brucon502 ....an opportunity for health & wealth http://visionsuccess.com/BC2053   --part1_7e.2bf379bc.2a892e9b_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 = 8/12/02 2:49:11 AM !!!First Boot!!!, jhumbert@ptd.net writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Well, partway = through the song, the CD player just up <BR>and quits. &nbsp;The ladies finished the verse sans music (it was the = best part <BR>of the whole song), then stopped and asked the sound man to "start it = back <BR>up at number 51." &nbsp;</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>I recall an hilarious occurrence in which a momentary power break = stopped the digital recorder in the middle of a solo accompaniment. = &nbsp;&nbsp;The soloist stopped and waited for the cue-up, the tape = resumed and after listening for a moment, the soloist resumed singing. = &nbsp;&nbsp;Unfortunately, the next words were, "and why, Lord, does this = happen to me?" &nbsp;&nbsp;&nbsp;&nbsp;The soloist and the congregation = all burst into laughter and.... it was over! ;-) <BR> <BR>Bruce in the Muttastery at Howling Acres = http://members.tripod.com/Brucon502 <BR>...an opportunity for health &amp; wealth = &nbsp;http://visionsuccess.com/BC2053</FONT></HTML>   --part1_7e.2bf379bc.2a892e9b_boundary--  
(back) Subject: Re: Worshipful atmosphere From: <Cremona502@cs.com> Date: Mon, 12 Aug 2002 11:36:18 EDT     --part1_6c.209891b6.2a892ff2_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 8/12/02 3:10:31 AM !!!First Boot!!!, jhumbert@ptd.net writes:     > Just to follow up my post, what do people feel about clapping during > services?   My primary objection to applause in worship was expressed by a = ten-year-old chorister. In a Methodist church I served I was asked to start a boy = choir. The first time they sang they did an easy anthem after only a month of rehearsing together. The congregation broke into thunderous applause. = A month later, the boys sang a more difficult anthem and did a far better = job of it. When they finished the room was silent... not even a breath for a =   short period. And then the service continued.   After the service the little boy remarked, "Well, I guess they didn't like = us this time."   There are times when applause is appropriate, perhaps as a corporate expression of thanksgiving for a person arriving at their 100th birthday, although I wouldn't want it to happen to me (the 100th birthday OR the applause!). Worship has become too comfortable and secular for me = lately.   Bruce in the Muttastery at Howling Acres = http://members.tripod.com/Brucon502 ....an opportunity for health & wealth http://visionsuccess.com/BC2053   --part1_6c.209891b6.2a892ff2_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 = 8/12/02 3:10:31 AM !!!First Boot!!!, jhumbert@ptd.net writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Just to follow up = my post, what do people feel about clapping during <BR>services?</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>My primary objection to applause in worship was expressed by a = ten-year-old chorister. &nbsp;&nbsp;In a Methodist church I served I was = asked to start a boy choir. &nbsp;&nbsp;The first time they sang they did = an easy anthem after only a month of rehearsing together. &nbsp;The = congregation broke into thunderous applause. &nbsp;&nbsp;&nbsp;A month = later, the boys sang a more difficult anthem and did a far better job of = it. &nbsp;&nbsp;When they finished the room was silent... not even a = breath for a short period. &nbsp;&nbsp;And then the service continued. <BR> <BR>After the service the little boy remarked, "Well, I guess they didn't = like us this time." <BR> <BR>There are times when applause is appropriate, perhaps as a corporate = expression of thanksgiving for a person arriving at their 100th birthday, = although I wouldn't want it to happen to me (the 100th birthday OR = &nbsp;the applause!). &nbsp;&nbsp;Worship has become too comfortable and = secular for me lately. <BR> <BR>Bruce in the Muttastery at Howling Acres = http://members.tripod.com/Brucon502 <BR>...an opportunity for health &amp; wealth = &nbsp;http://visionsuccess.com/BC2053</FONT></HTML>   --part1_6c.209891b6.2a892ff2_boundary--  
(back) Subject: Re: Handel's Messiah From: <Cremona502@cs.com> Date: Mon, 12 Aug 2002 11:41:25 EDT     --part1_32.2b4c8bb8.2a893125_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 8/12/02 4:55:32 AM !!!First Boot!!!, droydmaester@fastmail.fm writes:     > . Does anyone know where to find the > ORGAN score for these? >   I find it far easier and more supportive to the choir to reduce the piano reduction to a solid continuo, occasionally assisting the choir where = needed. I especially avoid playing the bass line on a constant 16' line.   Bruce in the Muttastery at Howling Acres = http://members.tripod.com/Brucon502 ....an opportunity for health & wealth http://visionsuccess.com/BC2053   --part1_32.2b4c8bb8.2a893125_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 = 8/12/02 4:55:32 AM !!!First Boot!!!, droydmaester@fastmail.fm writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">. &nbsp;Does = anyone know where to find the <BR>ORGAN score for these? <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>I find it far easier and more supportive to the choir to reduce the = piano reduction to a solid continuo, occasionally assisting the choir = where needed. &nbsp;&nbsp;&nbsp;I especially avoid playing the bass line = on a constant 16' line. <BR> <BR>Bruce in the Muttastery at Howling Acres = http://members.tripod.com/Brucon502 <BR>...an opportunity for health &amp; wealth = &nbsp;http://visionsuccess.com/BC2053</FONT></HTML>   --part1_32.2b4c8bb8.2a893125_boundary--  
(back) Subject: Re: New Topics From: <Cremona502@cs.com> Date: Mon, 12 Aug 2002 11:43:29 EDT     --part1_76.209e99c1.2a8931a1_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 8/12/02 5:32:22 AM !!!First Boot!!!, Chicaleee@aol.com writes:     > If God put me there, then I am supposed to be happy with what is there,   Now, now..... don't blame your problems on God!! ;-)   Bruce in the Muttastery at Howling Acres = http://members.tripod.com/Brucon502 ....an opportunity for health & wealth http://visionsuccess.com/BC2053   --part1_76.209e99c1.2a8931a1_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 = 8/12/02 5:32:22 AM !!!First Boot!!!, Chicaleee@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">If God put me = there, then I am supposed to be happy with what is there, </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>Now, now..... don't blame your problems on God!! &nbsp;;-) <BR> <BR>Bruce in the Muttastery at Howling Acres = http://members.tripod.com/Brucon502 <BR>...an opportunity for health &amp; wealth = &nbsp;http://visionsuccess.com/BC2053</FONT></HTML>   --part1_76.209e99c1.2a8931a1_boundary--  
(back) Subject: Strings vs. Celeste From: <RMB10@aol.com> Date: Mon, 12 Aug 2002 11:50:52 EDT     --part1_14e.124c063c.2a89335c_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Regarding the Elmore "Seeligbrautigam"-- >Hi, glad to hear from someone who knows the piece. Well, my instrument = is >moderately lush. I used voix celeste in the swell (Elmore just says >"strings," doesn't specify celeste, though     If a registration calls for "strings" I would automatically assume (maybe incorrectly) that it means string + celeste, or multiple strings and celestes, if available. It seems plausible that for Elmore's music, being =   that he was schooled in the Romantic/Orchestral style, that the more = celestes you have, the more authentic the presentation would be. Dan Miller has a great recording of the Elmore piece on one of the CD's from = Calvary....being that there are multiple celestes on every manual, as well as a plethora orchestral reeds they are all used to great effect in this arrangement. = My suggestion is in playing this choral prelude, use as much slush as you can =   and don't be ashamed of it!   Monty Bennett   --part1_14e.124c063c.2a89335c_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">Regarding the Elmore "Seeligbrautigam"--<BR> &gt;Hi, glad to hear from someone who knows the piece.&nbsp; Well, my = instrument is<BR> &gt;moderately lush.&nbsp; I used voix celeste in the swell (Elmore just = says<BR> &gt;"strings," doesn't specify celeste, though<BR> <BR> <BR> If a registration calls for "strings" I would automatically assume (maybe = incorrectly) that it means string + celeste, or multiple strings and = celestes, if available.&nbsp; It seems plausible that for Elmore's music, = being that he was schooled in the Romantic/Orchestral style, that the more = celestes you have, the more authentic the presentation would be.&nbsp; Dan = Miller has a great recording of the Elmore piece on one of the CD's from = Calvary....being that there are multiple celestes on every manual, as well = as a plethora orchestral reeds they are all used to great effect in this = arrangement.&nbsp; My suggestion is in playing this choral prelude, use as = much slush as you can and don't be ashamed of it!<BR> <BR> Monty Bennett</FONT></HTML>   --part1_14e.124c063c.2a89335c_boundary--  
(back) Subject: Worshipful Atmosphere/Clapping--off topic From: <RMB10@aol.com> Date: Mon, 12 Aug 2002 11:58:14 EDT     --part1_99.2ae0fdc3.2a893516_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 8/12/2002 2:41:11 AM Eastern Daylight Time, pipechat@pipechat.org writes:     > It's quite clear from scripture that clapping was a part of Jewish = worship > tradition. I don't mean to suggest that it was "applause" as we know = it. > And, in quite a number of Christian traditions clapping to the beat of = the > music is an inherent element of worship practice. > > I'm wondering if clapping is the modern day version of "saying amen"? = Not > that it means the same, don't misunderstand me. >   To me the problem isn't applause, but how the applause is offered. = Worship is not a performance, it is an offering. If someone wants to clap in agreement to a point in the spoken message, or clap in thanks and praise = to God after a musical selection is rendered, I think that it is fine, = because it agrees with Biblical expressions of praise. However, when people = applaud the singer or the speaker, it is not praising God, and not fitting for a worship service. It's not appropriate at every service, nor is it appropriate to never applaud. There is a fine line. The best atmosphere = is where people can clap as they feel led by the Holy Spirit and for those = who don't like to applaud to feel just as justified in their expressions of silence, which is also a Biblical expression. I don't mean this to get = into a theological argument, I'm just expressing my own opinions.     Monty Bennett   --part1_99.2ae0fdc3.2a893516_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">In a message dated 8/12/2002 2:41:11 AM Eastern = Daylight Time, pipechat@pipechat.org writes:<BR> <BR> <BR> <BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">It's quite clear = from scripture that clapping was a part of Jewish worship <BR> tradition.&nbsp; I don't mean to suggest that it was "applause" as we know = it.&nbsp; <BR> And, in quite a number of Christian traditions clapping to the beat of the = <BR> music is an inherent element of worship practice.&nbsp; <BR> <BR> I'm wondering if clapping is the modern day version of "saying = amen"?&nbsp; Not <BR> that it means the same, don't misunderstand me.&nbsp; <BR> </BLOCKQUOTE><BR> <BR> To me the problem isn't applause, but&nbsp; how the applause is = offered.&nbsp; Worship is not a performance, it is an offering.&nbsp; If = someone wants to clap in agreement to a point in the spoken message, or = clap in thanks and praise to God after a musical selection is rendered, I = think that it is fine, because it agrees with Biblical expressions of = praise.&nbsp; However, when people applaud the singer or the speaker, it = is not praising God, and not fitting for a worship service.&nbsp; It's not = appropriate at every service, nor is it appropriate to never = applaud.&nbsp; There is a fine line.&nbsp; The best atmosphere is where = people can clap as they feel led by the Holy Spirit and for those who = don't like to applaud to feel just as justified in their expressions of = silence, which is also a Biblical expression.&nbsp;&nbsp; I don't mean = this to get into a theological argument, I'm just expressing my own = opinions.<BR> <BR> <BR> Monty Bennett<BR> </FONT></HTML> --part1_99.2ae0fdc3.2a893516_boundary--  
(back) Subject: Last Sunday From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Mon, 12 Aug 2002 11:57:31 -0400   >How was the music at everyone's church this morning? >How did you play?   I subbed yesterday at S. Mary's, Wayne, Pa. This is quite a beautiful Gothic-revival church that seats probably 450 at the most. Rather than awe-inspiring, it is intimate, inviting, and comfortable to be in. The sextons must work very hard, as the impression of the interior is of rich colors polished to a gleaming spotlessness. Even the gently raised and rounded little stone tiles in the floor glisten in subdued red, blue, and green. Various kinds of fine artwork catch the eye. The late Ted Alan Worth has written quite a bit about this church in the biography of Virgil Fox, and about the Ruffatti he had installed. A few years later the = church was gutted by a terrible fire. It was rebuilt complete with another (smaller) Ruffatti.   This organ, a three-manual in the west gallery, has lately been rebuilt = very nicely by Peter Luley, with a new drawknob console and a new antiphonal division in the south transept. The principals used to be lovely but too thin. They seem to have been beefed up, although the great chorus is = still on the thin side. A first open diapason is "provided for" and will be = most welcome if and when it is installed. The reeds, originally a snarling mess, the least successful stops by far, are much improved; perhaps they have largely been replaced. As I recall, there was quite a charming flute celeste on the choir, which is gone. This is just about the only thing = from that I miss.   Hymns included "Praise to the Lord" (Lobe den Herren), "Now thank we all = our God" (Nun danket alle Gott), "Let us break bread together", and Melita.   Hence there was a surfeit of good chorale preludes to choose from. = Although I had turned in my voluntaries, they somehow failed to get printed in the bulletin. I had chosen Paul Manz's prelude on Lobe den Herren and, for = the postlude, the Karg-Elert war-horse on Nun Danket. For Communion, I used a piece by Lee Hastings Bristol based on both Nun Danket and Let us break bread, singularly appropriate because both were sung. Before the Manz I made the mistake of attempting Bach's sixth Schubler chorale (Lobe den Herren) without having practiced it enough. Fortunately, not many were in the church yet...   There was not time during communion for another delightful chorale prelude on Nun Danket, by Heinrich von Herzogenberg (1840s-1900). I like this rather obscure piece. It is airy and cheerful, largely in trio texture, perfect for a bright summer morning.   Yet another little-known piece on Lobe den Herren is "Processional" by Martin Shaw. There was no opportunity to play this, but I was tempted to play it for the postlude instead of the Karg-Elert.