PipeChat Digest #2621 - Thursday, January 3, 2002
 
Re: Interregnums and new incumbents...
  by "Stephen Barker" <steve@ststephenscanterbury.freeserve.co.uk>
Re: Interregnums and new incumbents...
  by "Roger Brown" <rbrown7@bigpond.net.au>
Re: Wellington Cathedral & acoustics generally
  by <Innkawgneeto@cs.com>
RE: Francis Booth, Organ Builder
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: Learning
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: Learning
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: Learning
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: Mozart organ works
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: "overblowing" or harmonic pipes
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: slider chests
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: Wellington Cathedral & acoustics generally
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: Mozart organ works
  by <MFoxy9795@aol.com>
RE: Mozart organ works
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
Relations between musician-priests and their musicians
  by <MFoxy9795@aol.com>
 

(back) Subject: Re: Interregnums and new incumbents... From: "Stephen Barker" <steve@ststephenscanterbury.freeserve.co.uk> Date: Thu, 3 Jan 2002 11:32:39 -0000       > What you do is appoint me from New Zealand as Vicar and pay all my expenses > to move over to your patch. I've just retired from the active Anglican > ministry here in New Zealand and have had wonderful relations with musicians > all the way along, being an enthusiastic organist myself. > Regards, > Ross [grinning :-)]   That might not raise that many eyebrows as the outgoing Rector was Australian, having immegrated to the UK about 13 years ago!!   Steve      
(back) Subject: Re: Interregnums and new incumbents... From: "Roger Brown" <rbrown7@bigpond.net.au> Date: Thu, 3 Jan 2002 21:14:31 +1100   Hello Stephen   Stephen> I would be interested in hearing from others who Stephen> have worked through similar situations and what the outcome was!   I've been through four changes of vicar - three of which were fine; the = fourth not so fine.   There are things you can't control as has already been pointed out. If = a new incumbent comes hell bent on change for you have little means of = preventing it.   The key as I would see it is taking the time to establish good = communication so you know where you stand. Sometimes at the time of a new appointment, = there is a temptation to simply get on with one's own task, often in an effort to = ensure that one's own area is performing at best efficiency. But you do need to = make an effort to establish lines of communication so you can quickly gauge = what the imperatives of the incumbent might be.   I've generally found that where good lines of communication exist = then any problems or differences of emphasis can be resolved. If the incumbent = will not allow the establishment of proper communication, you have a good = indication to start looking elsewhere.   The one incumbent I encountered who proved difficult was a fellow who = would not discuss planning except in generalities and who was then prone to = making snap decision which significantly affected the music - even on issues on = which discussions had been previously attempted.   I was uncertain whether he had an agenda he would not disclose or whether = he was simply a muddler. Subsequent events pointed in the latter direction but = I was glad to take another position and let him mess someone else around. He = did.       Regards,     Roger   Roger Brown rbrown7@bigpond.net.au http://rogerbrown.tripod.com      
(back) Subject: Re: Wellington Cathedral & acoustics generally From: <Innkawgneeto@cs.com> Date: Thu, 3 Jan 2002 07:56:01 EST     --part1_f2.14892ef4.2965aee1_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Amen. But then, if one has to make a choice, I always say, opt for making =   the building acoustically suitable for music, then deal with speech electronically.   I have always felt, that it does not have to be either/or.   Neil Brown Barnegat NJ USA   --part1_f2.14892ef4.2965aee1_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><BODY BGCOLOR=3D"#ffffff"><FONT = SIZE=3D2>Amen. &nbsp;But then, if one has to make a choice, I always say, = opt for making the building acoustically suitable for music, then deal = with speech electronically. <BR> <BR>I have always felt, that it does not have to be either/or. <BR> <BR>Neil Brown <BR>Barnegat NJ USA</FONT></HTML>   --part1_f2.14892ef4.2965aee1_boundary--  
(back) Subject: RE: Francis Booth, Organ Builder From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 3 Jan 2002 08:37:41 -0500   This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible.   ------_=3D_NextPart_001_01C1945B.D11D2ED0 Content-Type: text/plain; charset=3D"iso-8859-1"   Hey, that's unfair, I was off the list for a week during the holidays and didn't get the address to this page. I want it. Well, may I have it, pleeeeeeease. Thank you, Robert -----Original Message----- From: Cremona502@cs.com [mailto:Cremona502@cs.com] Sent: Wednesday, January 02, 2002 4:50 PM To: pipechat@pipechat.org Subject: Re: Francis Booth, Organ Builder     Bruce, I really enjoyed visiting your webpage. The organs are very interesting and the sound clips (especially theatre ones!) were excellent. Your playing???   I was just wondering..... why we some theatre organ consoles so big? = Was it just for effect, or was it full of relays and other unificagoodies?? Thanks.   Bruce Cornely ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Duncan, Miles, Molly & Dewi http://members.tripod.com/Brucon502/baskerbargains Please visit Howling Acres at http://members.tripod.com/Brucon502/   ------_=3D_NextPart_001_01C1945B.D11D2ED0 Content-Type: text/html; charset=3D"iso-8859-1"   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; = charset=3Diso-8859-1">     <META content=3D"MSHTML 5.50.4912.300" name=3DGENERATOR></HEAD> <BODY> <DIV><SPAN class=3D229363613-03012002><FONT face=3DGaramond = color=3D#800000>Hey, that's unfair, I was off the list for a week during the holidays and = didn't get the address to this page. I want it.</FONT></SPAN></DIV> <DIV><SPAN class=3D229363613-03012002><FONT face=3DGaramond = color=3D#800000>Well, may I have it, pleeeeeeease.</FONT></SPAN></DIV> <DIV><SPAN class=3D229363613-03012002><FONT face=3DGaramond = color=3D#800000>Thank you,</FONT></SPAN></DIV> <DIV><SPAN class=3D229363613-03012002><FONT face=3DGaramond color=3D#800000>Robert</FONT></SPAN></DIV> <DIV class=3DOutlookMessageHeader dir=3Dltr align=3Dleft><FONT = face=3DTahoma size=3D2>-----Original Message-----<BR><B>From:</B> Cremona502@cs.com [mailto:Cremona502@cs.com]<BR><B>Sent:</B> Wednesday, January 02, 2002 = 4:50 PM<BR><B>To:</B> pipechat@pipechat.org<BR><B>Subject:</B> Re: Francis = Booth, Organ Builder<BR><BR></FONT></DIV><FONT face=3Darial,helvetica><FONT = size=3D2>Bruce, <BR>I really enjoyed visiting your webpage. &nbsp;&nbsp;&nbsp;The organs = are very interesting and the sound clips (especially theatre ones!) were = excellent. &nbsp;&nbsp;Your playing??? <BR><BR>I was just wondering..... why we some theatre organ consoles so big? &nbsp;&nbsp;&nbsp;Was it just for effect, = or was it full of relays and other unificagoodies?? &nbsp;&nbsp;Thanks. = <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>Duncan, = Miles, Molly &amp; Dewi &nbsp;http://members.tripod.com/Brucon502/baskerbargains <BR>Please visit Howling Acres at &nbsp;&nbsp;http://members.tripod.com/Brucon502/ = <BR>&nbsp;&nbsp;&nbsp;</FONT> </FONT></BODY></HTML>   ------_=3D_NextPart_001_01C1945B.D11D2ED0--  
(back) Subject: RE: Learning From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 3 Jan 2002 08:39:49 -0500   This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible.   ------_=3D_NextPart_001_01C1945C.1D7910A0 Content-Type: text/plain; charset=3D"iso-8859-1"   Thanks. Actually I've been to their website before and printed some of = their papers. Excellent stuff, BTW. I'll check that out first to see if the = video is there. To my recollection they do list their videos on that site. Thanks again, Rick. Robert -----Original Message----- From: RMaryman@aol.com [mailto:RMaryman@aol.com] Sent: Wednesday, January 02, 2002 4:51 PM To: pipechat@pipechat.org Subject: Re: Learning     In a message dated 1/2/2002 12:15:50 PM Eastern Standard Time, RCOLASACCO@popcouncil.org writes:         .. Is there a book available out there that deals with voicing with regard specifically to or has a chapter or more dedicated to "mixtures"? For example, why "mixtures" break where they do and which = voices   (flute, principle) is used for any specific "mixture." If you didn't get = it,   I'm using the term "mixtures" as a generic term for mixture, fourniture, cymbel, scharf, blah, blah and on. I       Robert - I am not aware of any books that go into that kind of detail on the design of mixtures, scaling, cutup's and so on...BUT there is a videotape, i = think of an AIO lecture given by George Taylor (of taylor and Boody) that tells = of his design principles and approach to scaling, breaks etc. You might try contacting the AIO thru Sebastian Gluck (TubaMagna@aol.com) who is the editor of the AIO newsletter or by contacting Steve Malionek (thru C B = Fisk or the OHS, which may also sell these tapes) who is the producer/editor of the AIO video lecture series.   Rick in VA   ------_=3D_NextPart_001_01C1945C.1D7910A0 Content-Type: text/html; charset=3D"iso-8859-1"   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; = charset=3Diso-8859-1">     <META content=3D"MSHTML 5.50.4912.300" name=3DGENERATOR></HEAD> <BODY> <DIV><SPAN class=3D030143813-03012002><FONT face=3DGaramond = color=3D#800000>Thanks. Actually I've been to their website before and printed some of their = papers. Excellent stuff, BTW. I'll check that out first to see if the video is = there. To my recollection they do list their videos on that = site.</FONT></SPAN></DIV> <DIV><SPAN class=3D030143813-03012002><FONT face=3DGaramond = color=3D#800000>Thanks again, Rick.</FONT></SPAN></DIV> <DIV><SPAN class=3D030143813-03012002></SPAN><SPAN = class=3D030143813-03012002><FONT face=3DGaramond color=3D#800000>Robert</FONT></SPAN></DIV> <DIV class=3DOutlookMessageHeader dir=3Dltr align=3Dleft><FONT = face=3DTahoma size=3D2>-----Original Message-----<BR><B>From:</B> RMaryman@aol.com [mailto:RMaryman@aol.com]<BR><B>Sent:</B> Wednesday, January 02, 2002 4:51 =   PM<BR><B>To:</B> pipechat@pipechat.org<BR><B>Subject:</B> Re: Learning<BR><BR></FONT></DIV><FONT face=3Darial,helvetica><FONT = size=3D2>In a message dated 1/2/2002 12:15:50 PM Eastern Standard Time, RCOLASACCO@popcouncil.org writes: <BR><BR><BR> <BLOCKQUOTE style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px = solid; MARGIN-RIGHT: 0px" TYPE=3D"CITE">. Is there a book available out there that deals with = voicing <BR>with regard specifically to or has a chapter or more dedicated to <BR>"mixtures"? For example, why "mixtures" break where they do and = which voices <BR>(flute, principle) is used for any specific "mixture." If you =   didn't get it, <BR>I'm using the term "mixtures" as a generic &nbsp;term = for mixture, fourniture, <BR>cymbel, scharf, blah, blah and on. I </BLOCKQUOTE><BR><BR>Robert - <BR>I am not aware of any books that go into = that kind of detail on the design of mixtures, scaling, cutup's and so on...BUT = there is a videotape, i think of an AIO lecture given by George Taylor (of = taylor and Boody) that tells of his design principles and approach to scaling, breaks = etc. You might try contacting the AIO thru Sebastian Gluck (TubaMagna@aol.com) = who is the editor of the AIO newsletter or by contacting Steve Malionek (thru C B = Fisk or the OHS, which may also sell these tapes) who is the producer/editor of = the AIO video lecture series. <BR><BR>Rick in VA</FONT> </FONT></BODY></HTML>   ------_=3D_NextPart_001_01C1945C.1D7910A0--  
(back) Subject: RE: Learning From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 3 Jan 2002 08:46:37 -0500   This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible.   ------_=3D_NextPart_001_01C1945D.10E49610 Content-Type: text/plain; charset=3D"iso-8859-1"   After I sent that message I went to the History of the Pipe Organ site = (I'll post it below) and it had an excellent (by my lay standards) brief summary of this topic I suggest anyone interested take a first look here. I found = it helpful and informative. Here's the site if you're not aware of it. It's a wonderful site anyway... http://panther.bsc.edu/~jhcook/OrgHist/begin.htm <http://panther.bsc.edu/~jhcook/OrgHist/begin.htm> Go to the site, click on "The Organ and How it Works," then on "Pipes," = then "Pitches," scroll down and click on "Compound Stops," and begin reading. = If you don't know how to read I can't help you. Or give me a call and I'll = read it to you. Robert Colasacco -----Original Message----- From: Cremona502@cs.com [mailto:Cremona502@cs.com] Sent: Wednesday, January 02, 2002 4:56 PM To: pipechat@pipechat.org Subject: Re: Learning     In a message dated 1/2/02 12:15:38 PM Eastern Standard Time, RCOLASACCO@popcouncil.org writes:         why "mixtures" break where they do and which voices (flute, principle) is used for any specific "mixture."       I think it would be great fun to have a seven or eight rank chest for playing with mixture composition.... and, of course, a nice assortment of pipes. It would be really interesting to hear how the mixture changed = with varying combinations of pitches. I've long been of the opinion that mixtures are too high pitched at the treble end and would like to hear = what it would sound like if the pitches broke back even further than is traditional.   I do hope one of our resident builders will give us a nice lesson on = mixture composition. Thanks for bringing it up.   Bruce Cornely ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Duncan, Miles, Molly & Dewi http://members.tripod.com/Brucon502/baskerbargains Please visit Howling Acres at http://members.tripod.com/Brucon502/   ------_=3D_NextPart_001_01C1945D.10E49610 Content-Type: text/html; charset=3D"iso-8859-1"   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; = charset=3Diso-8859-1">     <META content=3D"MSHTML 5.50.4912.300" name=3DGENERATOR></HEAD> <BODY> <DIV><SPAN class=3D093494013-03012002><FONT face=3DGaramond = color=3D#800000>After I sent that message I went to the History of the Pipe Organ site (I'll post = it below) and it had an excellent (by my lay standards) brief summary of this = topic I suggest anyone interested take a first look here. I found it helpful and =   informative.</FONT></SPAN></DIV> <DIV><SPAN class=3D093494013-03012002><FONT face=3DGaramond = color=3D#800000>Here's the site if you're not aware of it. It's a wonderful site anyway...</FONT></SPAN></DIV> <DIV><SPAN class=3D093494013-03012002><FONT face=3DGaramond color=3D#800000></FONT></SPAN>&nbsp;</DIV> <DIV><SPAN class=3D093494013-03012002><FONT face=3DGaramond = color=3D#800000><A href=3D"http://panther.bsc.edu/~jhcook/OrgHist/begin.htm">http://panther.bs= c.edu/~jhcook/OrgHist/begin.htm</A></FONT></SPAN></DIV> <DIV><SPAN class=3D093494013-03012002><FONT face=3DGaramond color=3D#800000></FONT></SPAN>&nbsp;</DIV> <DIV><SPAN class=3D093494013-03012002><FONT face=3DGaramond = color=3D#800000>Go to the site, click on "The Organ and How it Works," then on "Pipes," then = "Pitches," scroll down and click on "Compound Stops," and begin reading. If you don't = know how to read I can't help you. Or give me a call and I'll read it to you. </FONT></SPAN></DIV> <DIV><SPAN class=3D093494013-03012002><FONT face=3DGaramond = color=3D#800000>Robert Colasacco</FONT></SPAN></DIV> <DIV><SPAN class=3D093494013-03012002><FONT face=3DGaramond color=3D#800000></FONT></SPAN>&nbsp;</DIV> <DIV class=3DOutlookMessageHeader dir=3Dltr align=3Dleft><FONT = face=3DTahoma size=3D2>-----Original Message-----<BR><B>From:</B> Cremona502@cs.com [mailto:Cremona502@cs.com]<BR><B>Sent:</B> Wednesday, January 02, 2002 = 4:56 PM<BR><B>To:</B> pipechat@pipechat.org<BR><B>Subject:</B> Re: Learning<BR><BR></FONT></DIV><FONT face=3Darial,helvetica><FONT = size=3D2>In a message dated 1/2/02 12:15:38 PM Eastern Standard Time, RCOLASACCO@popcouncil.org writes: <BR><BR><BR> <BLOCKQUOTE style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px = solid; MARGIN-RIGHT: 0px" TYPE=3D"CITE">why "mixtures" break where they do and which voices = <BR>(flute, principle) is used for any specific "mixture." </FONT><FONT lang=3D0 = face=3DArial color=3D#000000 size=3D3 = FAMILY=3D"SANSSERIF"></BLOCKQUOTE><BR></FONT><FONT lang=3D0 face=3DArial color=3D#000000 size=3D2 FAMILY=3D"SANSSERIF"><BR>I think it = would be great fun to have a seven or eight rank chest for playing with mixture = composition.... and, of course, a nice assortment of pipes. &nbsp;It would be really = interesting to hear how the mixture changed with varying combinations of pitches. &nbsp;&nbsp;I've long been of the opinion that mixtures are too high = pitched at the treble end and would like to hear what it would sound like if the = pitches broke back even further than is traditional. <BR><BR>I do hope one of our resident builders will give us a nice lesson on mixture composition. &nbsp;&nbsp;Thanks for bringing it up. <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>Duncan, = Miles, Molly &amp; Dewi &nbsp;http://members.tripod.com/Brucon502/baskerbargains <BR>Please visit Howling Acres at &nbsp;&nbsp;http://members.tripod.com/Brucon502/ = <BR>&nbsp;&nbsp;&nbsp;</FONT> </FONT></BODY></HTML>   ------_=3D_NextPart_001_01C1945D.10E49610--  
(back) Subject: RE: Learning From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 3 Jan 2002 08:48:29 -0500   Manhy thanks. I shall seek. I hope it's not too physics/math oriented? = I'll find out. Thanks again, Robert   -----Original Message----- From: TubaMagna@aol.com [mailto:TubaMagna@aol.com] Sent: Wednesday, January 02, 2002 5:12 PM To: pipechat@pipechat.org Subject: Re: Learning     Volume 14, Number 1 (March 1999) of The Journal of American Organbuilding has an article on mixture voicing that I wrote for the AIO.   I know that there is at least one book being written now on the history = and design of mixtures, supposedly understandable to both organists and organbuilders. I do not know the status of that project at the moment.   SMG   "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: Mozart organ works From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 3 Jan 2002 09:09:50 -0500         (the viola was considered a "secular" instrument of the theatre orchestra in Mozart's time,     Maybe because they placed it between their legs!!!!! :0   Rcolasacco  
(back) Subject: RE: "overblowing" or harmonic pipes From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 3 Jan 2002 09:18:44 -0500   This is so interesting. Organ majors should be required to take at least = one semester (or two) of a comprehensive course in organ building or design or whatever you want to call it. Or do they do that these days? If not, get = it going. Thanks Tuba, let's hear some more. This is great. Robert   -----Original Message----- From: TubaMagna@aol.com [mailto:TubaMagna@aol.com]   Dear PipeChatters:   David Pitzer asked about the term "overblowing," as it applies to organ pipes. When a pipe is too forcibly blown, usually due to a large toe-hole and low cut-up, it skips the fundamental (prime) and speaks the next AVAILABLE =   overtone. In open pipes, this is the octave; in stopped pipes, this is = the   twelfth (stopped pipes propagate only their odd partials, giving them = their characteristic tone)... [cut for obvious reasons]  
(back) Subject: RE: slider chests From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 3 Jan 2002 09:55:55 -0500   At what point does the resultant become "ineffective" and become just two stops on one note? I resultantize only the last note of a piano/pianissimo piece where only the Bourdon 16' is in the pedal and the final chord is C, i.e., I'm left footing CC and right footing the G above it. Robert Colasacco       > Eight: Can a "resultant" 10-2/3' + 16' combination equal the "volume" = and > "gravity" of an [open] 32' stop? Same question for a closed 16' stop.   It can, IF the 10 2/3 rank is INDEPENDENT, so it can be tuned true, rather than derived from a softer 16' rank. Also, the 19th century practice of "monkey quints" (placing the unison and quint pipes on a common toe) also improves the effect of the resultant, but that means the 16' has to be independent as well, as both pipes will speak whenever the stop is engaged.  
(back) Subject: RE: Wellington Cathedral & acoustics generally From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 3 Jan 2002 10:45:48 -0500   You realize, Ross, that they're just adding this "crap" may I be so = vulgar, so as to make more money!!! Isn't that what it is all about in the end? = What the hell are those floating things in concert halls? Why were they not necessary to get the (near-) perfect acoustic 300 years ago and 100 years ago when they built Carnegie Hall, among other notables? M-O-N-E-Y. Money makes the vorld go 'round. Money, money, money, money, money, money. It jingles. Robert Colasacco   To suggest you could swop these two lights over and achieve good results in each case is just arrant nonsense, of course, yet acousticians and churches who fill their buildings, often of weird shapes, with = absorbent materials, are similarly trying to do things that the laws of physics just won't allow them to do. And then they try and fix the whole damned mess = with powerful amplifiers and speakers and mixers and mikes everywhere. Dumb, oh dear, dumb, dumb, dumb. Regards, Ross       "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: Mozart organ works From: <MFoxy9795@aol.com> Date: Thu, 03 Jan 2002 11:05:54 EST   so then why were 'cellos ok in church???   In a message dated Thu, 3 Jan 2002 9:10:41 AM Eastern Standard Time, = "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> writes:   > (the viola was considered a "secular" instrument of the theatre = orchestra > in Mozart's time, > > > Maybe because they placed it between their legs!!!!! :0 > > Rcolasacco > > "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: Mozart organ works From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 3 Jan 2002 11:10:47 -0500   Good question, why WERE cellos then permitted in church? Maybe my premise = is wrong?   -----Original Message----- From: MFoxy9795@aol.com [mailto:MFoxy9795@aol.com] Sent: Thursday, January 03, 2002 11:06 AM To: pipechat@pipechat.org Subject: RE: Mozart organ works     so then why were 'cellos ok in church???   In a message dated Thu, 3 Jan 2002 9:10:41 AM Eastern Standard Time, "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> writes:   > (the viola was considered a "secular" instrument of the theatre = orchestra > in Mozart's time, > > > Maybe because they placed it between their legs!!!!! :0 > > Rcolasacco > > "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       "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: Relations between musician-priests and their musicians From: <MFoxy9795@aol.com> Date: Thu, 03 Jan 2002 11:14:19 EST   Ross, Good for you for having wonderful relations with your musicians, being one = yourself. My experience with Episcopal priests is that the ones who are = musicians, or claim to have some musical knowledge (a couple were very = good organists) are the most trouble - meddlesome, in general most = disagreeable, and not able to delegate to the musician. Merry   In a message dated Thu, 3 Jan 2002 4:00:13 AM Eastern Standard Time, = "Ross & Lynda Wards" <TheShieling@xtra.co.nz> writes:   > What you do is appoint me from New Zealand as Vicar and pay all my = expenses > to move over to your patch. I've just retired from the active Anglican > ministry here in New Zealand and have had wonderful relations with = musicians > all the way along, being an enthusiastic organist myself. > Regards, > Ross [grinning :-)] > -----Original Message----- > From: Stephen Barker <steve@ststephenscanterbury.freeserve.co.uk> > To: PipeChat <pipechat@pipechat.org> > Date: Thursday, January 03, 2002 12:00 PM > Subject: Interregnums and new incumbents... > > > >Hello list! > > > >I've had this on my mind for a few days, but now it has been officially > >announced by Lambeth Palace, I can talk about it! The Rector of the = Parish > >where I am Organist and Choirmaster has been appointed the new = Archdeacon > of > >Maidstone (in the Canterbury Diocese, UK). This is my first = appointment as > >Organist and Choirmaster as I'm still fairly youthful (24) and I have = no > >experience of working in an interregnum or being part of appointing a = new > >incumbent. I suppose what I'm scared of is getting a new guy (or = girl!) > >that could destroy everything I've worked hard at building up over the = last > >four and a half years. I would be interested in hearing from others = who > >have worked through similar situations and what the outcome was! let me > have > >the bad stories as well as the good ones! At least one good thing = might > >come from it - I may be able to negotiate a better salary under a new > >incumbent as at the moment I'm on about half the RSCM recommended = salary... > >but that's another story! > > > >Thanks! > > > >Steve Barker > >Organist and Choirmaster, St Stephen's Church, Canterbury > >Education and Training Officer, Canterbury Diocese RSCM > > > >P.S. Maybe there are some nice musical Church of England clergy on = this > >list looking for a new post?!?! > > > > > >"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 > > > > > > "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