PipeChat Digest #2974 - Friday, July 19, 2002 OHS Chicago 2002, 6/27/02 Posting No. 4 by "Malcolm Wechsler" <email@example.com> Re: SLIGHTLY OFF-TOPIC: Sibelius 1.4 help (X-posted) by <RonSeverin@aol.com> Re: SLIGHTLY OFF-TOPIC: Sibelius 1.4 help (X-posted) by "Stephen Barker" <firstname.lastname@example.org> Franck and trains by "Glenda" <email@example.com> Lil' Ol' Moeller Fired Up by "First Christian Church of Casey, IL" <firstname.lastname@example.org> Re: Faculty recitals at Rochester POE by <DarrylbytheSea@aol.com> Re: Lil' Ol' Moeller Fired Up by "David Carter" <email@example.com>
(back) Subject: OHS Chicago 2002, 6/27/02 Posting No. 4 From: "Malcolm Wechsler" <firstname.lastname@example.org> Date: Thu, 18 Jul 2002 15:05:29 -0400 OHS Chicago, Thursday, June 27th This day probably gets the prize for the most consistently solid playing = of the convention. Most days have their ups and downs. This day had only = "ups!" It began with a lecture by Michael Friesen about an organ we could almost see but not hear, but an instrument that in 1870, was considered the = largest church organ in the United States. It was so large that when its builder, Louis Mitchell and Son of Montreal, began the installation in 1870, the balcony immediately began to settle, and what had been built had to be = taken down, and the entire organ put in storage. More about this later, when we visit this church, Holy Family, for a recital on another rather = interesting, surprising, and effective instrument. That's later. Now, we found = ourselves in Pullman United Methodist Church, in Chicago, but a part of Chicago that was once called Pullman, built privately by the Pullman Palace Car Company (how grand!) for its factory and for the housing of its employees. George Pullman also saw to it that "his" town had a church, a rather nice one, = but don't give him too much credit for a spiritual nature. He said: [The = church] "was not intended so much for the moral and spiritual welfare of the = people as it was for the completion of the artistic effect of the scene." It was = to have been non-denominational, used by all, and that was fine until it was time to choose the first minister. Everyone wanted someone from their own denomination, and the whole thing was in danger of collapse until it was finally taken over by the Methodist Church, which continues to operate the church to this day. The Steere and Turner mechanical instrument is from 1882, built for this church. It was restored in 1968 by Kurt Roederer. = Like every other Steere and Turner instrument I have heard, this is a wonderful sounding instrument, 21 stops including a couple of extensions. It = deserved and got a splendid organist for the occasion: Naomi Rowley now lives in Appleton, WI, where she is Principal Organist at First UMC, and teaches Organ at the Lawrence Arts Academy, affiliated with Lawrence University. She began this day with a work of Healey Willan, whose compositional strength and skill clearly contrasted with some, usually a small amount, = of lightweight music we hear in conventions, justified by their connection, geographically or historically with the convention city or the specific instrument being played. (I can't really have any argument with the intent of that, and I also realize that what I call "Willan Counterpoint" may not appeal to everyone, either.) Ms. Rowley's strong and musical playing made = of Willan's Epilogue on Saint Theodulph a lovely opening event. Next, two Christmas Partitas by Max Drischner (1891-1971) Both "Lo, how a rose e'er blooming" and "Good Christian Friends, Rejoice" are from 1950, charming, not shocking harmonically but well crafted - and beautifully played. According to the printed program, Niels Gade lived from 1822 to 1890. John Henderson shows him as being born in 1817, five extra years he will have enjoyed. The dates in the program are those of Cesar Franck, which perhaps came to mind at the wrong moment. Anyway, Gade bears no resemblance to = Cesar Franck, but rather quite strongly to Mendelssohn, the first performance of whose Violin Concerto Gade conducted. That would make an impression on anyone! We heard a very neat chorale prelude on "How brightly shines . . . = , using the quite bold Great Trumpet for the cantus. What we have heard so far was under the heading of "The Christmas Cycle," although you might wonder about St. Theodulph, which we mostly associate with "All Glory, Laud and Honor," but apparently Willan was thinking of a text I don't know, "O how shall I receive thee." The next section was called "Interlude," which was a way of providing = space for a liturgically unclassifiable piece, a Prelude and Fugue in B flat, by = a German composer, Johann Caspar Simon (1701-1776), which gave us a chance = to hear the excellent Great chorus through Mixture. This is a piece worth knowing, and was played articulately, and with spirit. The final part of the program was entitled "The Easter Cycle." It = consisted of two works of Alexandre Guilmant from Opus 90: 1. Lamento is a neat and gorgeous piece 2. Paraphrase on a Chorus from Judas Maccabeus. What a great way to end a recital. There is a solid and exciting final Fugue and a truly grand = ending! When this wonderful performance ended, I picked up my Hymn Supplement, thinking surely we would be singing a rousing "Thine is the glory," but it was not to be. We sang a gentle Holy Spirit hymn to the tune Seelenfreud, lovely, new to me, to a fine F. Pratt Green text: "Of all the Spirit's = gifts to me." We did wonderfully well, but were somewhat underutilized in being given only one of the five stanzas to sing in harmony. I hope someday, someone will explain why the directions for singing these hymns, as in "Unison, Women only, Men only, Harmony," etc., appear only in the great Organ Handbook, NOT in the Hymn Supplement. So, in crowded churches, we = try to keep the heavy handbook handy so we can see what we are supposed to do, while singing the hymn from the supplement. It defies logic, but in the = face of all this wonderful music, I guess it is a small quibble. Thanks to = Naomi Rowley for a superb recital on this really fine instrument. Heading for = the buses, we found the following quaint notation on the church's information board outside: "Welkomen Antique Organ Historical Society." Here followed a necessary bit of confusion, a bit unmanageable, if not completely. From 11:45 to 1:00, Michael Shawgo was playing a demonstration/recital on a highly unified and duplexed 9 rank 1930 Aeolian organ in The Chapel of the Holy Grail in the Disciples Divinity House of = U. of Chicago. It was possible only to seat a very few at a time in this = small space, so the recital program was played continuously, and it was = suggested that people come and go in shifts. Also, at 11:45, a box lunch was = available for pick up in the same building, to be eaten on the pleasant grounds. At Noon, Rhonda Sider Edgington was presenting a Carillon recital on the 72 bell Laura Spelman Rockefeller Carillon high above the Rockefeller Chapel = of U. of Chicago. This could not be heard from where we were, so one needed = to walk several minutes to be within earshot. This was also our time to visit the chapel itself, well worth the look. The great Skinner is dead! The university has cut off funds for its restoration, and there is an Unmentionable off in the corner which, it seems may be there for a long time, if not forever. What to say about this rather hectic hour and fifteen minutes. One had to = do lunch, of course, and this, like other box lunches we were given in this convention, was excellent, guaranteed Tofu-free (in joke). Getting through the line to get the lunch and choice of drink took some time, of course. = The little chapel, where Michael Shawgo was toiling away, was a preparation = for the afterlife. Approaching the entrance door to the room, one was = assaulted with unbearable heat. One knew that within moments of entering, the sauna effect would be working its magic, without the option of disrobing. The organ (in a dead space), well, here is a bit from the Handbook: "The two-manual nine-rank organ of electro-pneumatic action is entirely = enclosed in one box in the rear balcony of the chapel. Between the expression = chamber shades and the fa=E7ade of oak tracery and bronze cloth is a thin wall of corkboard, apparently to 'refine' the sound of the organ." I heard a few pieces from the long program listed, through small windows out in the courtyard, while eating, and Mr. Shawgo is clearly a fine player. Did he volunteer for this assignment? It would not be my idea of a great gig, and = I am sorry not to be able to write about his performance more fully. Carillons are where they are, and (hopefully) ever will be. We began to = hear the bells after we had walked some way, but no one had told a construction crew that they were being rude, and that great music was being made. I am not sure where we had to go to get away from incredibly loud machinery, = but basically, we just got a bit of the effect of a gentle tinkling, enough to know that a strong player was in control, but not enough to really enter into the music-making seriously. A Carillon recital needs a quiet evening, perhaps a few chosen buses heading over after one of the evening organ recitals, but that would lead to complaints from the neighbors, no doubt. There was a printed program, which looked quite interesting, and included = a couple of names I know, including Frank Della Penna who, if I have the = right guy, runs around with a rather large and quite effective Carillon on a = large flatbed truck. So, in an hour and fifteen minutes, hear an organ recital, eat lunch, hear a Carillon recital, and visit Rockefeller Chapel. I think some will have chosen their own bit of the program, and made it work, but = I think the structure of this was borne of desperation, and was a bit off-putting - but, please don't call this a complaint. The committee that set up this convention deserves nothing but high praise, and at the end of life's road, an air-conditioned suite, complete with high speed Internet access, in Heaven. I owe it to the two artists who took part in this marathon 75 minutes to list briefly their well-conceived programs: Michael Shawgo: Meditation from Thais-Massenet, The Palms - J-B Faure, The Question and The Answer - Wolstenholme, Meditation - Edward J. Sturges, Andantino - Charles Chauvet, Hymn of the Nuns - Lefebure-Wely, and, War March of the Priests - Mendelssohn. Rhonda Sider Edgington, Carillon: Prelude No. 5 in D Minor - Van den = Gheyn, Folk Tunes: Londonderry Air - arr. Milford Myhre and Wondrous Love - arr. Sally Slade Warner, Changes - Gary C. White, Three Short Pieces - Jean Miller (Air, Lullaby, and Chantey), from Spanish Suite - Frank Della Penna (On the Burro, Jumping Bean), Waltz - Ronald Barnes, Choral Partita on St. Anne - John Knox. Well, now, back to normal - an organ recital by a truly fine organist on a worthy Skinner instrument, in one place where we can all sit down and listen. This was in the same complex we have been wandering for the last = 90 minutes or so - Now, the University Church, Disciples of Christ, at about 1:15. Derek Nickels is Organist/Choirmaster at St. Elisabeth's Episcopal Church in Glencoe, IL, and has the D.M.A. and M.M. in Organ Performance = from Arizona State and the B.Mus. from Southern Methodist. He deserved the = honor of playing a glorious 1928 Three-Manual, 31 stop E. M. Skinner organ, very beautiful and very telling in the room (Opus 685). He chose a program that really suited and displayed the instrument perfectly. Sir Edward Elgar - Imperial March (arr. George C. Martin). Beautifully-paced, stylish playing. Edwin H. Lemare - Song Without Words. It began with a chime in another key (!) at the beginning! There was also a rather clangy old harp in need of serious work, but this was a very sweet piece, nicely played indeed. Percy Whitlock - From Four Extemporisations: Divertimento. A very good exercise for very nimble fingers, not at all in short supply on this occasion. Leo Sowerby - Prelude on "Land of Rest." This is a good little piece for theme rccognition. Somewhere toward the end, the Organ built up to a = volume heretofore unheard at this recital. The sound is very big, very cohesive, and penetrates the building firmly. For the hymn which followed, I thought we might sing Land of Rest, but instead, we sang St. Anne, with the O God our Help text, omitting stanza four, and being allowed only one stanza in harmony. Mr. Nickels = accompanies hymns very beautifully, and we were encouraged to sing lustily by his accompaniments, and by the fine stone building. Frank Ferko has written (in 2000) three sets of variations on three different hymn tunes for the dedication of the new Jaeckel organ in the Elizabeth Chapel at House of Hope (and several organs) Presbyterian Church in St. Paul. Mr. Nickels chose the set based on St. Anne, explaining why = we did not sing Land of Rest. This is energetic music, wonderfully played by = a very strong and thoughtful player! William Osborne has been on the faculty of Denison University since 1961. His degrees, all three of them, are from University of Michigan where he studied with Robert Noehren and Marilyn Mason. Earlier in the convention, = he delivered a lecture to us in rather wonderful surroundings, the Woodstock Opera House, Woodstock, IL (no organ!). As the buses circled the large central square of this rather touristy but quite pleasant small town, someone on the bus said he would miss the lecture and wander the town. = "I'll read the book - why don't they put these things on tape, anyway?" Well, I have to say that hearing this urbane and scholarly man speak of "Clarence Eddy's Chicago," a topic clearly dear to his heart, was really = fascinating. There is indeed a book called: "Clarence Eddy (1851-1937), Dean of = American Organists." The following URL should take you right to it in the OHS Catalogue. This may be a somewhat localized Chicago story, but I think it will be a fascinating glimpse into the upper echelon of the American organ world in the last half of the 19th century up to 1937 in the next. http://store.yahoo.com/ohscatalog/osclared18de.html It has to be noted that Dr. Osborne not only talks and writes, he also plays, and so on this day (7/27), I have to say he gave us an entirely Eddyfying and enjoyable recital of music related to his topic. He began = with a work of Hollins, whose story and music have always intrigued me. I read = in almost one sitting a borrowed copy of his autobiography, "A Blind Musician Looks Back," now sadly pretty unavailable, although it might turn up = amongst the online and bricks and mortar antiquarian booksellers. There is a nice biographical page devoted to him at < http://www.musicweb.uk.net/Hollins/biography.htm > The opening work was Concert Overture in C (1899), dedicated to, you guessed it, "Clarence = Eddy, Esq." This is one big piece, and it sang out into a most stunning = building, complete with three large domes, and a glorious acoustic. This is Saint = Mary of Perpetual Help Roman Catholic Church, and the organ is a four-manual, 1928 Austin of about 50 ranks. With Dr. Osborne's extremely solid = playing of this wonderfully crafted work of Hollins, and with this very lovely = rich and full old Austin which sounds out gloriously into the room, this was a great opening of a splendid recital. Next, a work of James H. Rogers (1857-1940), a Suite for Organ (from = 1905), dedicated to Clarence Eddy. This is not the world's greatest music, but in the surroundings, with this organ, and a convincing player, it was well worth hearing, if not just for historical reference. There are four movements: 1. Prologue - a big, broad introduction 2. March - a long, not loud, staccato march 3 Intermezzo. Pleasantly light weight 4 Toccata - Very much present is the insistent rhythm of the Widor Toccata from No. 5. Widor did get there first, by about 25 years! Last on the program, an 1879 work of Eddy himself! This was Festival = Prelude and Fugue on "Old Hundredth" - This is not immortal stuff, but was fun to hear, and I think it lovely that a fine scholar-musician is keeping both = the Eddy story and his music alive, and doing such a great job of it. Dr. Osborne is no stranger to the church organ bench, most recently = playing at Trinity Episcopal Church in Columbus, OH. He is a fine hymn player, and with him supporting us, we of course sang "Old Hundredth" to the Isaac = Watts text, "Before Jehovah's awful throne." We were given harmony, and we used = it well, and we liked what we sounded like in the beautiful room. Chicagoans should be grateful to Dr. Osborne for giving us a rather good grounding in this important part of the city's church music history. Perhaps you recall that way back at the beginning of this piece, I = mentioned Michael Friesen's lecture about the Louis Mitchell organ of Holy Family Roman Catholic Church in Chicago. Well, we are now in this very building, and looking up at the beautiful but sadly empty organ case, all that = remains of this historic instrument. This is a church building with a history of major structural problems. You will recall that, as the organ installation began, the balcony began to settle, and the whole organ had to be removed = to safe storage. The history of this gallery organ, which was eventually brought back to the balcony and to use, is a very sad one. It seems to = have been sold, and replaced by bits and pieces from other instruments in a not coherent manner, to the point at which there is nothing at all up there anymore. The condition of the building appears still to be pretty dire. = The great internal columns that support the high roof are simply crooked, leaning at a rakish angle, scary to say the least. The parish, which apparently served thousands of the faithful, has now dwindled to the point that only one Mass is offered on Sunday, at 9:45. There are some very = plucky people there, however, who are fighting the good fight to keep it = together. And, there is a new housing development going up right across the street, which one hopes might make some revival possible. This is a great space, = and one would hate to see it pulled down, as was dangerously possible just a = few years ago. In the north transept, there is a rather amazing organ, on loan from a private owner. It's an 1879 Steinmeyer instrument, Opus 179 - one manual, reversed console, nine stops. You might like to have the specification - it is not that long! Manual: 8' Principal, 8' Gamba, 8' Salicional, 8' Gedeckt, 4' Oktav, 4' Floete (harmonic), III Mixture. = Pedal: 16' Subbass, 8' Violon. It may not look like a lot of organ, but let me = tell you, it fills this enormous, wonderfully-alive space more than adequately = to most needs, including the singing of a hymn by a large assembly. The excellent organist on this occasion was Jason Alden, something of a Renaissance man (oops, a word potentially misunderstood!). His Bachelor's degree from Elmhurst College is in Spanish and Biology. His Master's from Valparaiso is, however, in music. He has been involved in the restoration = of two organs in Costa Rica, where he has played (1998) with the Chamber Orchestra of Budapest. His documentation of the organs of Costa Rica was published in 2000 in The Tracker. He is now Teaching Assistant in Organ at Elmhurst College, and Organist at Second Church of Christ, Scientist in Chicago. He also works for an area organ maintenance firm. In addition to which, he is a very fine organist! The program: Sweelinck - Onder een linde groen. What an interesting sound! It rather pushes itself into the room with a very clear ringing sound. From Twelve Fughettas (Opus 132A) of Rheinberger - No. 3, Andante. The = Flute and String are sufficient to reach the entire room. Schumann - No 5. <lebhaft> of Six Fugues on B-A-C-H (Opus 60). Quite rapid and well-articulated, fully satisfying on just 8' and 4' Flutes! Last on the program, a towering performance of the glorious Buxtehude How brightly shines the morning star (Buxwv223). The broad and singing 8' and = 4 ' Principals sound full throughout the building. The Mixture (with Tierce) really makes a big statement. A two-stanza hymn, "Come unto me, ye weary," to Abendlied, a tune by Schubert, is from the Christian Science Hymnal, and it made a nice 5 p.m. ending to the day's recitals, with one much anticipated evening recital still to go. The buses took us to dinner back at the Hotel Allegro, and at 6:45, = departed again, for Temple Sholom and an evening with Will Headlee. We were greeted by the Rabbi and Cantor of the temple, who made quite clear in their = remarks how much our visit meant to them. They were down front for the entire = event, clearly moved and interested. As always, I think our singing had special meaning. For more than one reason, there has been much anticipation about this evening event. 1. We were about to hear the largest Wurlitzer organ designed for religious use. 2. There was interest in the fact that Ken Cowan had played the Willan Introduction, Passacaglia, and Fugue on the amazing Plum Tree Farm instrument, and now Will was to play the same work on rather different resources, but yet another Wurlitzer - what would Healey think? = 3. Will Headlee is always a favorite performer at OHS conventions - and = tonight was no different! Most of the text of the Organ Handbook was written by Stephen Schnurr, = with help from Michael Friesen and Jonathan Ambrosino. I don't know who gets credit for the following bit of a longer essay, which will give you a = better idea of what we were about to hear: "Although essentially similar in construction to Wurlitzer theatre organs, the firm's instruments for = houses of worship often utilized lower pressures and introduced special softer voices (such as the Flute, Flute Celeste, Erzaehlers, and Unda Maris); = these subtle tones were of little use for photoplay (!) work. The church organs also used a different form of individual shutter action and shade design (the "studio" type), quieter in operation than the standard Wurlitzer = shade action. Compared to the more usual theatre organ specification, the unification scheme at Temple Sholom is conservative, much more typical of mid-1920s church organ thinking than the horseshoe console might suggest. Chambers resembling the traditional Great, Swell and Choir (as opposed to Main, Foundation or Solo); the inclusion of an independent four-foot Great Principal; and the presence of independent Pedal stops, all point to a modification of house style." I would add to that that the two widely = spaced chambers behind us, on either side of the console and choir gallery, gave = a stereophonic depth to the sound of the instrument. Will spoke succinctly and pleasantly almost throughout the program, beginning with a speech and short rehearsal he hoped might ease the danger that the hymn he had chosen to begin with would actually stymie an OHS audience. Withal, it came quite close. "Open your ears, O faithful people" to the tune Torah Song made great demands upon us, moving quickly over a complex transliterated text which began, quickly, Yi yi yi Yisroel. = Already, the yi yi yi in rapid succession formed something of a barrier. I think ultimately, we did not embarrass ourselves too badly. This was followed by a super piece, quite lengthy, of Craig Phillips (b. 1961) - "Fantasy: Torah Song," winner of the 1994 Mader Composition Competition. Obviously, our singing experience gave us a clearer understanding of this work. The organ really sounded splendid in this. Saint-Saens - Fantasie in E Flat, a favorite work, beautifully played. Bach - Prelude & Fugue in G Major (541). The sound: silvery, a relatively gentle but satisfying chorus. Some were, on the bus, rather vocal about = not liking this work performed on this chorus on this organ. <De gustibus> = rules o.k. Alexandre Guilmant - Grand Choeur Triomphal (Opus 47, No. 2) Quite bright, reedy ensembles, if a bit gentle. Tubas are refined with a lovely Tuba quality but not as commanding as one might like. Karg-Elert - from Seven Pastels from the Lake of Constance: No. 2. = Landscape in Mist. This was simply fabulous and kaleidoscopic. Vierne - Naiades. Will announced that someday he thought he might play = this piece right (no small feat!). You heard it here - this was the day. It was terrific, and probably gets a new subtitle: "Dueling Tibias! Also Vierne - Clair de lune. Had Vierne heard it here, he might have dedicated it to Rudolph Wurlitzer. Skinner got there first. It was ravishing! Intermission Willan - Introduction, Passacaglia and Fugue. A second truly great performance of the work at this convention. Will made elegant use of the resources of the organ. Kudos! William Albright - Sweet Sixteenths, A Concert Rag for Organ (1975). This was played on some of the theater sounds that could be summoned up on this instrument. We sang the hymn "The God of Abraham Praise" to Leoni, and I can't recall if it came before or after the final piece. Anyway, we sang it well. Seth Bingham - Toccata on "Leonie" (Hebrew Melody) (Opus 36, No. 3, 1939). New to me - an excellent work, giving this concert a brilliant finish. Thanks Will.
(back) Subject: Re: SLIGHTLY OFF-TOPIC: Sibelius 1.4 help (X-posted) From: <RonSeverin@aol.com> Date: Thu, 18 Jul 2002 15:23:02 EDT Dear Bud: The note is not mesured so why not just a measure line before and after the note or chord, similar to pointing of the psalms. I don't know if Sebelius has note brackets or not. I'm using the idea from the Joseph Gelineu psalms books. Ron
(back) Subject: Re: SLIGHTLY OFF-TOPIC: Sibelius 1.4 help (X-posted) From: "Stephen Barker" <email@example.com> Date: Thu, 18 Jul 2002 21:20:14 +0100 Having played around a bit with it, the quickest way I've found is to put = it in as a piece of text attached to the note then just use ( ) putting as many spaces in-between as necessary... sure there's a better way, but that works! Steve Canterbury UK ----- Original Message ----- From: <firstname.lastname@example.org> To: "organchat" <email@example.com>; "pipechat" = <firstname.lastname@example.org> Sent: Thursday, July 18, 2002 7:40 PM Subject: SLIGHTLY OFF-TOPIC: Sibelius 1.4 help (X-posted) > I can find how to put a cautionary accidental in brackets, but I can't > find how to put a NOTE in brackets ... as in the case of voices crossing > with a note in common, and only one of the notes needs to be played. > > Anybody know? > > Cheers, > > Bud > > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:email@example.com > Administration: mailto:firstname.lastname@example.org > Subscribe/Unsubscribe: mailto:email@example.com > >
(back) Subject: Franck and trains From: "Glenda" <firstname.lastname@example.org> Date: Thu, 18 Jul 2002 19:06:43 -0500 Actually, when I did the Pastorale for an audience, I didn't think of trains but of thunderstorms. I told them that the term "pastorale" brings to mind shepherds with sheep and meadows and flowers and whatever, with the church bells in the background. Then in moves the storm, then back to the drying out period with the original themes intertwined and the bells pealing louder. And I thought all that up without the aid of hallucinogenic drugs. Actually, I don't like freight trains all that much - one cut off my dog's back leg and tail when I was a kid. When I heard the train at night I worried about one of my cats playing Anna Karenina. Glenda Sutton email@example.com
(back) Subject: Lil' Ol' Moeller Fired Up From: "First Christian Church of Casey, IL" <firstname.lastname@example.org> Date: Thu, 18 Jul 2002 21:59:15 -0500 Rejoice with me! Today I finished putting the pipes in place on my Li'l = Ol' 3-rank 1937 Moeller Artiste and fired it up for the first time since I got in mid May. It needs tuning, of course, but it's wonderful to have REAL PIPES at home, even in an Artiste incarnation! Dennis Steckley "For I am possessed of a cat, surpassing in beauty, from whom I take occasion to bless Almighty God."
(back) Subject: Re: Faculty recitals at Rochester POE From: <DarrylbytheSea@aol.com> Date: Fri, 19 Jul 2002 00:05:37 EDT --part1_188.aef2db2.2a68ea11_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 7/18/02 9:33:02 AM Central Daylight Time, Hell-Felix@t-online.de writes: > Yep, that's it! A big piece -- last like 20 minutes or so!!!!!! I hope you're well . . . I heard that your recent Canada concerts were hottttttt events! :) More, later . . . Darryl --part1_188.aef2db2.2a68ea11_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 = 7/18/02 9:33:02 AM Central Daylight Time, Hell-Felix@t-online.de writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Wasn't it "The = Turn of the Screw"??</BLOCKQUOTE> <BR> <BR>Yep, that's it! A big piece -- last like 20 minutes or so!!!!!! <BR> <BR>I hope you're well . . . I heard that your recent Canada concerts were = hottttttt events! :) <BR> <BR>More, later . . . <BR> <BR>Darryl</FONT></HTML> --part1_188.aef2db2.2a68ea11_boundary--
(back) Subject: Re: Lil' Ol' Moeller Fired Up From: "David Carter" <email@example.com> Date: Thu, 18 Jul 2002 22:41:23 -0700 (PDT) Bravo, Dennis!!! Count me as one of the jealous ones. I figure I'm ten or more years from having an electronic in my own home, and 20+ (if ever) years for a pipe instrument! David Carter in Sacramento Getting ready for a garage sale on Saturday --- "First Christian Church of Casey, IL" <firstname.lastname@example.org> wrote: > Rejoice with me! Today I finished putting the pipes > in place on my Li'l Ol' > 3-rank 1937 Moeller Artiste <snip> __________________________________________________ Do You Yahoo!? Yahoo! Autos - Get free new car price quotes http://autos.yahoo.com