PipeChat Digest #2624 - Thursday, January 3, 2002
 
OHS Convention 2001 - Report No. 4, 6/24/01
  by "Malcolm Wechsler" <manderusa@earthlink.net>
Rector from Hell
  by "Shirley Vanest" <koehnken@comsys.net>
Re: Hutchings , Organ Builder
  by <RonSeverin@aol.com>
Re: The Rector From Hell (X-posted)
  by "Malcolm Wechsler" <manderusa@earthlink.net>
Re: The Rector From Hell (X-posted)
  by <quilisma@socal.rr.com>
RE: The Rector From Hell (X-posted)
  by "Glenda" <gksjd85@access.aic-fl.com>
 

(back) Subject: OHS Convention 2001 - Report No. 4, 6/24/01 From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Thu, 3 Jan 2002 17:56:47 -0500   Here is Report No. 4 from the OHS North Carolina Convention, which ran = from June 21 through June 28th.   Try to imagine two things: First that it is Sunday, June 24th and is warm and sunny, and second, that you will not be on an organ bench today, and = you probably don't even know it is Sunday! This could be dangerous.   After yesterday's long ride to Asheville, we spent today staying quite = close to Winston-Salem, where we are domiciled, beginning our day right in the hotel at 9:30 for the Annual Meeting of the OHS. This is a congenial organization, engendering lots of good feeling in a membership which turns out in large numbers to attend the ritual of the annual meeting. The required business of the society is carried out, while all have an opportunity to come to know those who give their time to the leadership of the organization. Bill Van Pelt presides in his gentle manner, and those = in charge of other projects and committees of the society have a chance to report on activities since the last meeting (in Boston in 2000). It is at this meeting that the E. Power Biggs Fellows are introduced. There were = two this year, Ryan Celestin of Metairie, Louisiana and Bruce Ludwick, Jr. of Keyser, West Virginia, adding their names to a roster that goes all the = way back to 1978, and includes the names of organists and organbuilders now known to us all. Great program, this, and now benefitting from a bequest from the estate of Peggy Biggs (Mrs. E. Power), who died not long ago. An election of officers was held by mail prior to this meeting, with some ballots submitted on the day. Elected as President: Michael Barone, whose radio program, Pipedreams, produced and disseminated by Minnesota Public Radio, is known throughout the U. S.   On to the buses at 11, going to the really wonderful workshop of J. Allen Farmer, Organbuilders - a great barn surrounded by truly beautiful countryside. On display, something to which we could all aspire, a two manual and pedal mechanical residence organ, two stops on each manual division and a pedal 16'. Sorry, it is already spoken for - no, not by me, sadly. Outdoors, on a perfect day, we were treated, and I do mean treated, to a fine buffet lunch. Next stop, Maple Springs United Methodist Church = to hear another of those OHS Convention "fixtures," James Hammann, who is on the faculty of the University of New Orleans, is organist of St. Francis Xavier Church, and in his spare time, runs an organ maintenance business! = As a fixture, one usually has something to say about the organ assigned to oneself, probably so in this case, as they were a perfect pair. This was a 1926 Casavant, originally located in Detroit, but moved to Winston in = 1982. Voluptuous describes it well, a 3-manual instrument with all the good = (big) stuff. I have always loved Casavant instruments of the 20s, having known several quite well! This instrument is broad and warm, and Jim mused that = it may well have been installed in Detroit by an old friend who installed organs for Casavant all those years ago. One of Jim's degrees is from University of Michigan, so he knows people in that part of the world, possibly including the first composer of his program, James Houston = Spencer (1895-1967), who taught and played in Michigan for about half a century. = The piece: Symphonesque, Opus 12 of 1933, a rich work, somewhat inventive harmonically in a way occasionally somewhat reminiscent of Sowerby (whose dates are almost parallel to Spencer's). This was followed by our second convention performance of Rhythmic Trumpet from Seth Bingham's suite, Baroques, of 1944. This had the benefit of a wonderfully bold Trumpet, and was given a really swaggering performance. Last, in this concert of music = by composers who lived at just about the same time, Air With Variations (written for William Strickland) by Leo Sowerby (1895-1968). The original theme was heard beginning and end, with some incredibly intricate variations, some using a lovely lyrical Clarinet. I don't know why this organ had to be let go by Detroit, but it is good news that it found a new home that loves it and keeps it going.   Here, we did our famous split, dividing into two groups because of some limited seating in one of the churches. My group went first to Ardmore United Methodist Church, where those who, a few days ago, were somewhat discomfited at the sound of the Andover instrument (which I liked), were here totally scandalized by an organ by Fritz Noack of the same exact = year, 1978. I remained unfazed, although I recognized a bit of aggression in the sound occasionally, but more than compensated for by a luminous clarity = and some really lovely stops and ensembles. The instrument is kind of stuck in an alcove at the east end, with the choir seated in front of it. I thought it unfortunate that the instrument could not have been freestanding, out from the east wall, with the choir still somehow accommodated in front of it. It neither looks nor sounds its best this way, but it is, on the other hand, neither bad looking or bad sounding! This was a most interesting recital, played by William H. Bates, Professor of Organ at University of South Carolina in Columbia. He won me over instantly by choosing "When in our music" to Engelberg as his hymn, with which we began, and then playing it at "my" tempo, which is, of course, Stanford's - very broadly! Just guessing, of course! We were given some gender directions - harmony was = not an issue, as we only had the melody, as it is presented in most hymnals. There are a few harmonizations around, and it would have been nice to have one in front of us. Anyway, Prof. Bates did interesting things with the accompaniment, with the last stanza, as I put it in my notes, "rather = super harmonized," meaning not great, but rather a bit overdone - but fun, nonetheless. Abruptly changing modes, we heard Retrove [Estampie III] = from the Robertsbridge Fragment of the early 14th century. Leaping two = centuries, we heard the first work in which I heard some harshness in the tone of = this instrument, Fantasie sus orgue ou espinette, arr. Guillaume Costeley, mid = to late 16th century. Leaping one more century, the choral prelude <Der Tag, der ist so freudenreich> of Buxtehude, with the cantus on a ravishingly beautiful Tierce with Tremulant. Moving right along (another century), = John Stanley Voluntary in C: Adagio and Andante, the former with quite broad = and lovely Principal tone. The Andante is the expected Trumpet tune. Then, you guessed it, up another century to Brahms, Herzlich tut mich verlangen, played wonderfully sensitively on Principal sounds, with excellent "chiff control." Finally, we reached the 20th century with a Partita on "When in our music God is glorified" by Professor Bates himself. He announced that the movements of this work (he played 1, 2, 3, 6 & 7 only) were designed to = show forms with which an organist must contend! The Intrada - replete with clashing harmonies. Chorale - Bluesy modern, very short, with the cantus = in the Pedal. Trio, in the Baroque tradition. Recit en taille, using the Cromorne. Very bluesy, with all the cliches of the genre. The last section was a rather wild and wonderful Gigue Fugue. I enjoyed this recital, which = I thought carefully designed to match the instrument, and all was played = with great musicality, technical skill, charm and as needed, wit!   Our buses took us then to St. Timothy's Episcopal Church, where we would spend the next couple of hours in entirely worthwhile pursuits, the first = of which was an ingenious and endearing recital by Rachelen Lien, who I think has played at every OHS convention I have attended, which is rather more than a few. Her bio says she has attended 24 consecutive conventions! Rachelen is from New Orleans, where she is organist and choir director at St. Matthew United Church of Christ, and Parker Memorial United Methodist Church. She chaired the OHS's national convention in New Orleans in 1989. Her assignment this day was to perform on the smallest instrument heard in the convention, a charming Erben from 1851, temporarily living in the chapel at St. Timothy's, while its home church in South Carolina is undergoing structural work. The organ has one manual, no pedal, 5 stops, 5 ranks, 190 pipes! An 8' Open Diapason goes down to Tenor F, a Dulciana does the same, and both are anchored by 17 pipes of a Stopped Diapason Bass. There is a = 4' Principal and a Flute to Tenor F. There is a very tight Swell box. For = some of the pieces, the hand pump was used. The program began with a very sweet Adagio of J. S. Bach, where from I don't know, and failed to ask. Then, Allegro from a Thomas Arne Concerto. Soeur Monique of Francois Couperin = used to appear in lots of recital programs early in the 20th century. I recall, in a study of very old issues of The Diapason looking for something else, coming across lots of mentions of this really charming work. Rachelen used the Swell box for the contrasts called for in the piece. Then, a Pastorale by Charles Wesley, using first the Dulciana, and then the 4' Flute for contrast, sounds of enormous beauty and integrity. Partita on <Ah, vous dirai-je, maman> - another Twinkle Twinkle Little Star set of variations, also played by Lady Susi Jeans. These are by Johann Christoph Friedrich = Bach (1732-1795). At this point in the program, Mary Martin, mezzo-soprano, = Tony Pruett, Violist, and Worth Williams, 'Cellist were introduced to us, and then collaborated with Rachelen in the Brahms Lullaby for the Christ = Child, opus 91. A really special treat, followed by another, the Saint-Saens The Swan with 'Cellist Worth Williams. Following this, the hymn Built on the Rock, for which we were provided a harmony and a road map for what to do when. A fascinating program, beautifully played, ended with a good chance = to sing. We were happy campers, to be sure, all the more in that refreshments were served. It was about 4:30 - we were ready.   Moving from the chapel into the main church. What, you say, another 1 = manual organ!? Well, I have to say that I heard more and more beautiful music coming out of this little box than out of more than a few much larger instruments. The note on it in the program says "This organ is an essay in the merits of a complete one-manual scheme." An A+ essay, I would say. We heard two more events in this church, and they were something of a family affair, in the broadest sense of family. It honors people of this = community, and people who worked to make this wonderful convention possible. They deserve to have their day, and this was it. To name names, starting with = the organ builder: This amazingly versatile and clever instrument is Opus 22 = of 1994, from the shop of John Farmer, at whose shop we toured and lunched earlier in the day. Through the judicious use of common basses, space and money was saved, and divided stops make possible lots of accompanied solo effects. More about these details during the discussion of the music. The organist who next played a recital for us, and then proceeded to accompany Evensong (yes, we did get to church on this day!) was Scott Carpenter. He = is assistant at this church - Kristin Farmer is Director of Music. The choir for Evensong was that of St. Paul's Episcopal Church, Winston-Salem, about which more later. Barbara Beattie is the director of this choir. A = composer whose music we heard both in the pre-service recital and in Evensong = itself is Margaret Sandresky, another treasure of this area, of whom much more later. The Recital: First, Preambule from the 24 Pieces of Vierne, with a remarkably broad and lovely sound - where on earth did all that come from? Well, this organ has five 8' stops, not counting the tenor f Celeste! = There is noble trickery involved here. The 2nd Open Diapason(!) goes down only = to middle c, where the very much used Stopped Diapason Bass takes over, but this is enough to give, at least above middle c, the rich sound of two Opens, and then there is that Stopped Diapason, plus a Melodia and a Dulciana, those last two sharing a bass common with the Stopped Diapason = as well. Money and space is saved, and an artistic musical variety is achieved. Next, an anonymous 18th Century English Cornet Voluntary, and courtesy of divided stops, we had a beautiful accompanied Cornet, three ranks just = from middle c up. Then a full Trumpet divided at middle c made possible a = Trumpet Voluntary of Thomas Dupuis (1733-1796). Then, the ultimate perpetual = motion choral prelude, Nun freut euch (BWV 734) of Bach, with the running figure a fabulous high flute. Where the gentle but very present cantus came from, I don't know! Then, we heard the really lovely Celeste in Prayer in E Flat = of Guilmant. The final works on the program were two parts of an Organ Mass based on the little 15th century waltz tune L'Homme armee, which few of us escaped singing in music history courses at some point. This was my introduction to the music of Margaret Sandresky, now resident in Winston. = I wanted more, and there was indeed more as the convention continued. We = heard a Credo, the melody accompanied with some very inventive harmonies, and = then Agnus Dei beginning with flute arabesques followed by a chordal, = march-like section in keeping with the eponymous "Armed Man." This was a wonderful recital, which fact the audience acknowledged fully. Scott Carpenter is a player of great assurance, musicality, and clarity. But wait, he's not = done. Evensong is to follow, and he accompanied that as well. (For this reason, = we did not sing a hymn at the recital, but our time was coming!)   So, those worrying about our spiritual welfare on this Sunday can take comfort in our attendance at a really glorious Evensong, sung, as = mentioned above, by the splendid unauditioned choir of St. Paul's, Winston-Salem, conducted by Barbara Beattie. St. Paul's has a splendid Ernest Skinner instrument, faithfully restored by the Thompson-Allen Company of New = Haven, CT. In organ circles (that's us), St. Paul's has been well-known as the musical home of Margaret Mueller, who has just retired from the organist post. Before this day ends, we will be in that very place, and there will = be more to say about it then. But now, we are still at St. Timothy's, and Evensong begins with the Richard Strauss Solemn Entry, with the Giannini Brass Quintet. Preces and Responses were by Martin Neary, most pleasant, = and unknown to me. Here followed our first hymn, and as is not always the case in our recitals, the hymns chosen were from the hymnbook in front of us in pew racks, and there was glorious harmony, and harmonize we did, first now with O blest creator, source of light, to the Haydn tune Bromley. The = Psalm was No. 19, impeccably sung to a fine chant by Steam Ship Wesley. The canticles (Magnificat and Nunc Dimittis in D) were by Sir Herbert Brewer (1865-1928). For the anthem, we were given another lovely piece by = Margaret Sandresky, The Turtle Dove. Having heard a fabulous Evensong in a lovely church, with a wonderful choir, accompanied by a superb organist, on an amazing instrument, it was almost too much to have a closing hymn that leaves me = in a state of emotional collapse: The day thou gavest, Lord, is ended, to the magnificent tune St. Clement. I have often regretted that in this day when Evensong is less available than it was in former days, this hymn is not often sung because it does not make sense in the morning - but last time I sang it, I noticed a little note at the bottom in the 1982 Hymnal: "This hymn may be used in the morning by omitting stanza 1." I never thought of that!   Well, after a good dinner at the Adams Mark Hotel, it was off to St. = Paul's Episcopal Church, and a joint concert by Margaret and John Mueller. The organ is Skinner Opus 712 of 1929. Aeolian-Skinner did some revoicing work in 1965, and in 1996 and '97, the Thompson-Allen folks of New Haven Connecticut, who keep the monstrous Woolsey Hall organ at Yale in perfect working order, did a complete restoration. When Nick Thompson-Allen and = Joe Dzeda and Company finish a Skinner restoration project, the church becomes = a place of pilgrimage for anyone who wants to see an organ that Ernest Skinner would recognize as one of his own. There are not huge numbers of these around. In addition to this instrument at St. Paul's, also to die for are two that I know very well: Trinity Church-on-the-Green in New Haven, CT (actually, Aeolian-Skinner of 1937, with considerable Harrison input) and First Presbyterian Church, Wilmington, North Carolina, pure Skinner, and really stunning in a great acoustic. The St. Paul's organ has four = manuals, 42 stops, 51 ranks, not huge, but quite telling in the space. I thought of going home when I saw that the Great has no Mixture, but I was too lazy to move - that is a joke, but there really is no Mixture! The event began = with Margaret Mueller at the console (another player who clearly loves hymns = and knows how to accompany, not dominate them) as we lustily sang For all the Saints, to Sine Nomine, complete with the harmony for stanzas 5 and 6. = After that, came an organ demonstration (Margaret) that gets added to my organ demonstration hall of fame. It has only two other events in it. One was = Tom Murray's demonstration of the Woolsey organ for the Central Connecticut = OHS National Convention some years ago. Another was David Briggs extemporizing = a four movement symphony on the organ at St. Ignatius Loyola in New York as = a way of demonstrating it to himself (with only me as audience). Well, on = this occasion, we were handed a two sided, tightly spaced sheet of description = of the demonstration we are about to be given of this wonderful organ. Were I to copy it all, it could double the size of this article. What I can tell you is that there were seven sections for the demonstration of the reeds, six for the Diapasons (no Prinzipals here), seven for Flutes, and three = for the Strings. Ah, and one short section for the Harp and Celesta! Each of = the sections dealt with divisions separately, and ensembles and stops alone in those divisions. There was a description of what would be played for each demonstration, usually some fragment of the repertoire, clearly = listed, or sometimes an improvisation. On occasion, the fragments were from pieces we were going to hear in the following recital by both Muellers, and this was always clearly noted. As great as this all was in print, experiencing = it all as played was totally terrific. When the demonstration was finished, there was a thunderous ovation. We then heard March on a Theme of Handel = by Guilmant, Fantasie in C, Franck, and finally the charming A Wreath of Carols, by Margaret Vardell Sandresky (b. 1921), making use in lovely and clever ways of the Sussex Carol, Greensleeves, Lo how a rose, and In dulci jubilo. I don't think I missed any. John Mueller then took over the well warmed bench for a really very fine Sonata da Chiesa for Flute and Organ (1998) assisted by Flutist Julie Frye, written by North Carolina composer Dan Locklair (b. 1949). I loved this piece, with wonderful writing for the combination of the two instruments, and long, beautiful, flowing lines. = The first movement, "Processional - Beginning of Worship" used the choral "How brightly shines the morning star." "Adoration and Praise" was the second movement, followed by "Faith and Aspiration," which was a Chaconne, = followed by "Amen - Close of Worship." This was a jolly agitato sort of piece, designed to sound like congregational babble at the end of a service, and also sounding a bit like something out of Jesus Christ, Superstar! Dr. Mueller ended the program with the perfect, familiar, comfortable Allegro from the Widor Sixth. The audience essentially erupted at the end of this definitely "feel good" program, a tribute to two North Carolina composers, two very well loved North Carolina organists, and a most beautiful instrument. Back on the bus to the hotel, the exhibits, the bar, and eventually, the bed. Tomorrow will be a bit more relaxed than was today, = but no less interesting. My thanks to Scott Carpenter and Harry Martinas for editorial help with this report. Read on!   Malcolm Wechsler        
(back) Subject: Rector from Hell From: "Shirley Vanest" <koehnken@comsys.net> Date: Thu, 3 Jan 2002 17:34:29 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_004D_01C1947C.E6125060 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: 7bit   Couldn't help but read all the comments. Maybe that's why I am perfectly content to not be a church organist anymore!!!   Shirley Vanest-White To be completely honest is to realize you really are not, therefore? Ness         ------=3D_NextPart_000_004D_01C1947C.E6125060 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 6.00.2600.0" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><STRONG><FONT face=3D3D"Comic Sans MS" size=3D3D4>Couldn't help but = =3D read all the=3D20 comments.&nbsp; Maybe that's why I am perfectly content to not be a =3D church=3D20 organist anymore!!!</FONT></STRONG></DIV> <DIV><STRONG><FONT face=3D3D"Comic Sans MS" =3D size=3D3D4></FONT></STRONG>&nbsp;</DIV> <DIV><STRONG><FONT face=3D3D"Comic Sans MS" size=3D3D4>Shirley=3D20 Vanest-White</FONT></STRONG></DIV> <DIV><STRONG><FONT face=3D3D"Comic Sans MS" size=3D3D4>To be completely = =3D honest is to=3D20 realize you really are not, therefore?&nbsp; Ness</FONT></STRONG></DIV> <DIV>&nbsp;</DIV> <DIV><STRONG><FONT face=3D3D"Comic Sans MS"=3D20 size=3D3D4><BR></FONT></STRONG>&nbsp;</DIV></BODY></HTML>   ------=3D_NextPart_000_004D_01C1947C.E6125060--    
(back) Subject: Re: Hutchings , Organ Builder From: <RonSeverin@aol.com> Date: Thu, 3 Jan 2002 19:29:27 EST   Hey Bruce   I'm glad I got you to tell the story of this organ, spec. and all. Hutchings, that would be a pre E. M. Skinner. 1906 Immaculate Conception, Jacksonville, FL Built the same year as St. James Cathedral, Seattle, WA. Was there room in the main case for the upper work additions? I take it that the trumpet went back where it belonged. Is this a totally enclosed organ? It could be one of the reasons the additions didn't work very well. Were the chests early pitman? The organ must have produced a full, rich, sound when you releathered it. Would you like to see it in A-1 playing condition again? I know I would.   Ron Severin  
(back) Subject: Re: The Rector From Hell (X-posted) From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Thu, 3 Jan 2002 19:35:29 -0500   For those of us who live a relatively "normal" church life, this is = totally incomprensible! No discussion? No reasons given? No singling out of individual works for inclusion or non-inclusion? Bud, is this total disapproval a complete surprise to you? From bits and pieces you have told us, maybe, maybe not. Most important, what exactly is it he wants in place of what you have toiled over for so long? How strange that perhaps your = hard and good work will live on mostly in the churches of those of us who have downloaded your musical offerings, generously sent our way!   Are his reasons about music or about control?   My sympathies, and clearly those of lots of people on this list. I wish there was some way we could help.   Yours,   Malcolm Wechsler   ----- Original Message ----- From: <quilisma@socal.rr.com> To: "+mailing list, ANGLICAN-MUSIC" <anglican-music@list.stsams.org>; "organchat" <organchat@egroups.com>; "pipechat" <pipechat@pipechat.org> Sent: Thursday, January 03, 2002 4:43 PM Subject: The Rector From Hell (X-posted)     > Well, HE'S BACK, and he shot down EVERY SINGLE piece of work I did while > he was gone (Epiphany thru Quinquagesima), PLUS Candlemas, PLUS the > 11:00 choir, which I had volunteers for. > > I give up. But he's going to have to FIRE me, AND explain to the > congregation WHY. > > Bud        
(back) Subject: Re: The Rector From Hell (X-posted) From: <quilisma@socal.rr.com> Date: Thu, 03 Jan 2002 17:16:16 -0800       Malcolm Wechsler wrote:   > For those of us who live a relatively "normal" church life, this is = totally > incomprensible! No discussion?   Never. He hasn't spoken to me since ... oh, August, probably. He e-mails = me.   > No reasons given?   Last time it was "ugly and unsingable" ... the same fauxbourdons I've been = using for four years, and the ones used in the music I sent out.   > No singling out of > individual works for inclusion or non-inclusion?   Nope.   > Bud, is this total > disapproval a complete surprise to you? From bits and pieces you have = told > us, maybe, maybe not.   Well, he did the same thing with the Christmas music ... I was mystified = then; I'm mystified now.   > Most important, what exactly is it he wants in place > of what you have toiled over for so long?   If I knew THAT, I wouldn't have had two strokes and a heart attack. = Merbecke and Willan and one big showy anthem, evidently.   > How strange that perhaps your hard > and good work will live on mostly in the churches of those of us who = have > downloaded your musical offerings, generously sent our way!   That's why I started giving them away.   > Are his reasons about music or about control?   What do YOU think? (grin)   I'm twenty years older; I'm a life-long Anglican; he's not; he never went = to seminary or otherwise acquired an MDiv; he's spent his entire priesthood = at St. Matthew's, from the time he was a deacon. He thinks the service-lists I = send him from Anglican-Music are "heretical", because the CHURCHES are "heretical" = ... in other words, he pays no attention to anything that goes on in Anglican = churches that are still in communion with Canterbury, which has "fallen into = heresy" according to him.   Translation: he ignores or denigrates the Anglican musical tradition in = toto. He's never HEARD of most things you and I learned 40 and 50 years ago.   The VESTRY knows he has no people or management skills ... he's gone = through three secretaries in the four years I've been there ... but they won't do anything about it.   > My sympathies, and clearly those of lots of people on this list. I wish > there was some way we could help. > > Yours, > > Malcolm Wechsler >   Pitchforks and torches? (grin)   Thank you, Malcolm, and everybody else who's written me with words of encouragement and support.   Cheers,   Bud      
(back) Subject: RE: The Rector From Hell (X-posted) From: "Glenda" <gksjd85@access.aic-fl.com> Date: Thu, 3 Jan 2002 19:30:24 -0600   My dear Bud, you must have the fortitude of Job! When I read your post, I remembered the year when we had the rector from hell - wonder if he is the same guy? He was from California, and went back there! It was an excruciating year, and I thought I would go stark-raving mad. I almost left the church and the organ, so my heart goes out to you in this troubling time.   You have been given good advice about documenting everything - all I can do is pray for you. I believe that your congregation will appreciate all that you do and the spirit in which you do it - mine did.   Glenda Sutton (who always says that things WILL get better - it just might not be in our lifetime)