PipeChat Digest #2989 - Sunday, July 28, 2002
 
OHS Chicago 2002 - 6/28 Posting #5
  by "Malcolm Wechsler" <manderusa@earthlink.net>
Re: Wedding blues
  by "MusicMan" <musicman@cottagemusic.co.uk>
RE: late weddings
  by "Josh & Amy Edwards" <fbcorganist@charter.net>
RE: late weddings
  by "Glenda" <gksjd85@direcway.com>
Timely Weddings
  by "First Christian Church of Casey, Illinois" <kzrev@rr1.net>
Cameron Carpenter Recital, Phoenix, Arizona:  An Appreciation
  by <Lewwill@aol.com>
 

(back) Subject: OHS Chicago 2002 - 6/28 Posting #5 From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Sun, 28 Jul 2002 07:53:21 -0400   OHS Chicago 2002, Friday, June 28th, 2002   It's Friday, and our buses leave at the respectable hour of 9 for Gary, Indiana, St. Mary of the Lake RC Church. Is a Larry Phelps 1963 Casavant a good way to start the day. It does depend. Some of these instruments are simply called Phelpsavants. Others are called Crashavants. This was, I thought, a wonderful instrument, no crash whatever, and perfectly fitting the perfectly decent 60s building, with a fine acoustic. How nice that the assignment of playing here was given to Thomas Brown, whose playing I have admired for years at OHS conventions and elsewhere. Tom, a graduate of U. = of Missouri and The Juilliard School, has had a distinguished career as Pianist, Organist, and Harpsichordist, and has recently settled in Chapel Hill, North Carolina, as Music Director and Organist of University Presbyterian Church.   Tom is not absent minded. I don't think he is known to play (for example) the wrong hymn in church. Well, his program for this morning began with = the G Major Prelude of Bach (541a) - that's what it said. What we heard was a major portion of beginning of THE Toccata in D Minor! We are a docile and unquestioning lot, content in the assurance of an eventual explanation of the unannounced program change. Soon, all became known as the piece worked its way up to a big dominant 7th chord, leading to "Happy Birthday" - for Michael Barone!   This was followed by the G Major, in a clean, crisp, and giving = performance.   Three Orgelbuchlein Chorales followed: 1. Ich ruf zu dir, with really lovely ornamentation on the repeats. 2. Wenn wir in hoechsten Noeten sein, beautiful and supple, with a = Principal cantus. 3. In dulci jubilo, played boldly and tinkly. It caused me to count = shopping days until Christmas   Fugue in E Flat, St. Anne. A fine, broad playing of the first section, not quite totally Romantic (no value judgement here) but not rigid or = unfeeling either. The 2nd and 3rd sections were as "tinkling zimbels." I thought the final grand Fugue a bit fast to enable its full dignity to manifest = itself, but perhaps the "proper" tempo relationships between sections were being observed, something I have never been very good at worrying about.   The Vierne Berceuse (24 Pieces in Free Style) made history - hearing a = Larry Phelps Celeste that seemed not to chiff!   To close the recital, a wonderful piece, absolutely fabulously played! = From <Le Tombeau de Titelouze> of Marcel Dupre, Opus 38 (1942), <Placare = Christe servulis>   Once the long applause, all standing, came to an end, Tom began the introduction to his prize-winning hymn tune <spes> This won first prize in an international hymn tune competition sponsored by the Community of = Christ (ex R.L.D.S.), and it had its premier at the national convention of the = Hymn Society last summer. The text, "Christ leads!" is by Brian Wren. We sang this strong unison D Major tune most heartily. There is a lovely section = in B Minor for stanza 3. I believe we were all moved, both by the powerful tune, and the equally powerful text, and I hope we gave Tom a thrill up there in the balcony. What a great event with which to start our day!   A short bus ride took us to Valparaiso, and St. Paul Roman Catholic = Church, a rather striking modern building of 1967. The amazing Stephen Schnurr has been Director of Music in this church since 1990, and I will have opportunity to explain the "amazing" bit at the end of this day, when Dr. Schnurr plays a recital in another church, in Michigan City, IN. We had three things to do in this church, the first of which was a lecture by Stephen Pinel, OHS Archivist, keeping careful watch over the OHS Archives = at Westminster Choir College in Princeton, NJ. Stephen assembled a = fascinating collection of slides, and spoke about aspects of the history of the = Archives that I had not heard before. He made the point clearly and well, = reiterating what the OHS Founders had said right at the start, that an Archive is an essential ingredient of the mission of the society. What Stephen has assembled in Princeton is unlike anything else in the world. If you have = not visited this remarkable repository, you need only write to Stephen at < spinel@worldnet.att.net > You will find him ever willing to arrange to meet you there, to show you around, and to answer any questions you might have. The Society has $1000 grants available to those wishing to do = research in the Archives. Stephen can tell you about this program, or go to < www.organ-society.com >.   Our next activity here at St. Paul was a recital in the church's striking Chapel of Mary, Queen of the Apostles. This is a most unusual room, = somewhat disorienting with its rather odd shape. It is an acoustically dead space like few others, but into this, under the influence of the ever = resourceful Dr. Schnurr, an 1883 Johnson and Son, 18 rank mechanical action, 2-manual instrument has been well installed front and center of the curved front = wall of this totally curvaceous chapel. If the space had to be dead, and one = has only so much energy for fighting architects, this was the perfect organ to work in the space. These 19th century American builders knew how to do it. Organist David Schrader gave us a splendid recital on this really very effective instrument. Dr. Schrader teaches applied music and academic studies at the Chicago College of Performing Arts of Roosevelt University. He is perhaps best known for the famous music he has produced weekly at Chicago's Church of the Ascension for over twenty years. We began with the hymn, Ancient of Days, to the William Doane tune "Albany," as found in the 1940 Hymnal. Next on the program was a Postlude by William T. Best, but = Dr. Schrader announced that instead, he would play something rather different, the Postludium from the Janacek Glagolitic Mass. Wow! Very exciting = indeed. One chameleon 16' Open Wood does all the Pedal, and it really worked hard = in this piece, and throughout the recital. Jehan Alain - Postlude for the Office of Compline. That's two postludes in = a row, neither resembling the sort of postludes I play in my church. This lovely piece really worked beautifully on this instrument, with so many stops working really well as solo stops, and Dr. Schrader used many very effectively. Finally, Grand Sonata in E flat, Opus 22 by Dudley Buck - four movements. 1. Allegro con brio: I wrote to the person next to me, "Corny is less so when played with such conviction on such honest sounds." 2. Andante espressivo: using the quite decent Oboe. The 16' Open was = almost too much, but one can make allowances. Given the choice of it or a = Bourdon, the Open is the way to go, I do believe. 3. Scherzo: Vivace non troppo. Again, confidence and a sure touch can overcome trite - it was fun to listen to. 4. Finale: Allegro maestoso. An extremely busy Pedal part. Spectacular playing. Bravo!   After the recital, we were provided with lunch in a dining room at the church, and we also had a chance to wander into the spacious main church = to see the three-manual, 41 stop Casavant electropneumatic instrument from 1978.   The trip from St. Paul Church to the famous Chapel of the Resurrection at Valparaiso University was a short one, almost as long as the uncertain meander through the campus as our six big buses tried to figure out where = to dump us. Anyway, we did get there, and entered the very impressive = building, with a Pipe Organ that looked like Walter Holtkamp's Ultimate Design for exposed pipework. He did, in fact, submit a design, but it was passed over for one by Herman Schlicker in consultation with Paul Bunjes. The history = of the instrument is one of constant tinkering, with more stops being added = in small clusters over the years, made possible by gifts, and working toward completing the original vision of the final form of the Organ. The = original gift for the Organ allowed about two-thirds of the instrument to be built. E. Power Biggs dedicated it in that form on September 27th, 1959. In May = of 1994, a contract was signed with Dobson Organ Builders, the work to include a complete releathering, a new console, and chests, new winding, and pipework to complete the Schlicker/Bunjes design of the instrument. Twenty nine new ranks of pipes were added. Instead of the original plan for a fourth division, a Brustwerk, an enclosed Solo division was added. The dedication took place at the morning service on September 15th, 1996, with an afternoon recital played by John Scott, of St. Paul's Cathedral, = London, with 2000 people in attendance. Was anyone reading this actually there? = Tell us what we missed! The acoustic, by the way, is splendid! The following = link should get you a pictorial chapel tour. http://www.valpo.edu/chapel/ When I tried, the individual links to various parts of the chapel would = not work, including that for the organ. I did my duty and wrote the Webmaster.   The pleasant task of demonstrating this instrument went to John Gouwens, = who has been Organist and Carillonneur at The Culver Academies in Culver, IN since 1980. He has studied at Indiana University, University of Michigan, and University of Kansas, where his teachers have been Clyde Holloway, Robert Clark, and Robert Glasgow. He began with the Bruhns Praeludium in E Minor - Very vigorous playing on = a very vigorous sound, which may be a bit of an understatement. I was in = that third of the huge chapel closest to the organ, and while it did not really scream exactly, it was a very powerful sound, not shy in the treble. It = was cohesive and exciting, however, and the upperwork did not stand apart. I regret not having walked further down the length of the chapel to see how = it perhaps mellowed with some distance.   I would have benefited from a translation of the next bit of Claude Balbastre. Avoiding the diacriticals, it was "Au jo deu de pubelle - Grand Dei, ribon ribeine" There is a circumflex over the o in "jo," and an acute accent over the e in "Dei." A think a translation would have been helpful. = I did, after all, fix the macaronic Preludium of the program to Praeludium! Anyway, this work gave us an opportunity to hear the killer Cromorne at first, and then some very pleasant Tierce combinations. For the Vierne "Cathedrales," Mr. Gouwens found some really very nice = broad sounds, possibly of recent origin. We sang the hymn "How lovely shines the morning star," using the version = "O Morning Star, how fair and bright" and the rough rhythm from the Green Lutheran Book of Worship, which I found really comfortable, as it was accompanied very sympathetically. The hymn was followed immediately by a brilliant improvisation on the chorale, which added to the very thorough introduction to this instrument = we were given, along with the experience of a very fine recital.   A short ride, and we were in Saint Paul Episcopal Church, La Porte, IN, blessed with a Steere & Turner instrument of 1871. The Organ had = apparently been much mucked around with over the years, and in 1979, when much mechanical work was needed, it was decided to also do a tonal rationalization with the addition of ten ranks of pipes, the work done = over 1978 and 1979 by old friend Ronald Wahl of Appleton, WI. The reordering = and the additions add up to a brilliant scheme, as beautiful to read about as = it is to hear. There were, however, four persistent ciphers. Relax Ron! This church installed an air-conditioning system unlike any I have ever seen. High up on the transept walls were what were apparently air-conditioning units of some sort, and there were two more of these on the east wall. = There was no ductwork visible - this was apparently a way of avoiding piercing = the walls with ducts, but the price paid was ugly thick cables that dangled = down from each of these units and disappeared somewhere. I am mentioning this really because each of the units produced a very flute like tone at about the mf level. It never stopped, and in more gentle moments in the music, there was a terrible clash, depending upon the keys in use, but at best a great annoyance. It was hot, and I suppose there would have been a riot had these things been shut off. Possibly, this sound was not as potent sitting near the center aisle. It essentially ruined the recital for me. I was unable to block it out and ignore it. Dr. Gregory Crowell was the organist du jour. He is University Organist = and also Professor of Music at Grand Valley State University, and is also Director of Music at Trinity UMC in Grand Rapids. His teachers have = included Yuko Hayashi, Bernard Lagace, Mireille Lagace, Roberta Gary, and Harald Vogel.   He began with two mystery pieces, first, an Overture in C by Mozart - = K399. Whence came this, and also whence came a Bach Prelude & Fugue in F Major, BWV 901? We could have used a program note, written or verbal. James Woodman's music first came to my attention when Chestnut Hill Presbyterian Church in Philadelphia commissioned of him a set of = variations on Lasst uns erfreuen for the dedication of the new Mander Organ in May of 2000. Last year at OHS in North Carolina, these variations were played = again by Peter Sykes, and another set, on "Spanish Hymn," was played by Mark Brombaugh on the Duke Flentrop. So, on this day, Gregory Crowell played = yet another splendid Woodman set of variations, on Fairest Lord Jesus. Of course, following that, we sang the hymn, with Thomas Tertius's Noble harmonization (sorry!). New to me, Prelude & Fugue in D, by Antonin Dvorak. This and a few other Organ works were written when Dvorak was 18. I thought this a fine piece, and very solidly played. It is published by Editio Supraphon, and you can find contact information in one of the appendices of John Henderson's Directory of Composers for Organ. So there is Lemmens beyond the Fanfare! We heard "Solo pour la flute," a lovely piece worth adding to the repertoire. This organ now has the = perfect Flute for it as well. The program finished with a 1912 Toccata by Arthur Foote, which had = moments of originality, and made a nice virtuoso ending to a fine recital - and it drowned out the dreaded air conditioners. Both the Organ, the player, and the music deserved a better environment in which to be heard. How does the choir put up with it on Sundays?   I don't really know Stephen Schnurr. I somehow have never even had a conversation with him, but I have an indelible image of him at years of = OHS Convention recitals, walking down the aisle before recitals, with a camera on a tripod, taking what we have now learned are very good pictures. We = know this because most of the pictures in the more than 200 pages of this = year's Organ Handbook are his. In addition to that, most of the text in this book was written by him - this includes complex church and organ histories, = which are remarkably thorough. And he served as this year's convention chairman = - AND he played a recital as well! As mentioned earlier, he has been Music Director at St. Paul RC Church in Valparaiso for more than a decade. He = has M.M, M.M.A. and D.M.A. degrees from Yale, plus a B.A. from Duke. His teachers have included Charles Krigbaum, Thomas Murray, Gerre Hancock, Robert Parkins, Peter Williams, Melvin Dickinson, and Neil Larson. His was the closing recital of this day, and as if he were not busy enough (I was going to say stressed, but he never looks stressed), because of the = somewhat limited seating of First Congregational Church in Michigan City, IN, he = had to play the whole very solid program twice. The Organ is an 1891 three-manual instrument of Hilborne Roosevelt (26 stops) - Opus 506. The = key action was Tracker-Pneumatic, the stop action, completely mechanical. Some restoration/repair was made to the organ in 1998-9 by the Rutz Organ = Company of Minnesota, and if I read the note correctly, at this time, they made = the key action completely mechanical. "A Program of Works by Chicago Composers" Triumphal March (Opus 26) . . . Dudley Buck. This very robust piece was = our introduction to a very gutsy sound, with very sturdy playing to keep it = all going. Charles Arthur Havens flourished in the last part of the 19th century. No dates seem to be known for him. I thought his Offertoire in G Minor (Opus194) of a rather borderline quality. H. Clarence Eddy - Prelude & Fugue in A Minor, quite a strong piece, with = a most arresting Fugue Impressions of the Philippine Islands was written by Lily Wadhams Moline = (c. 1879-1966) after returning from a visit there. There are three of these impressions: 1. In a Village - Quite an atmospheric piece, skillfully written. 2. Serenade - A very sweet and melodic work. 3. The War Dance Festival - On the borderline to being corny, I thought, = but fun. Rossetter Cole was a pupil of Middelschulte. His "Meditation" of 1914 was dedicated to Clarence Eddy- This bears another look and listen. I think it is quite a beautiful piece. Clarence Dickinson seems to me as a composer to rise above many of the composers of his time. The Joy of the Redeemed is off to a good start, = being based on what is for me one of the all time greatest hymn tunes, O Quanta Qualia - This is a great piece and was in the hands of a great performer. Given the fine John Dykes harmonization, we did our best in the Hymn which was, of course O Quanta Qualia, text: O what their joy and their glory = must be. Stephen showed himself to be a fine hymn player, supporting us without swamping us, and coloring the words beautifully. Finally, Felix Borowski (1872-1956) - From Sonata 1, Allegro con fuoco. = This is the final movement of the sonata. On Sunday night, we will hear Thomas Murray play the entire work. This is an inventive work, melodically, harmonically & in construction. Earlier in the week, Robert Woodward = played a Meditation - Elegy from a Borowski Suite for Grand Organ. This program, along with several others, has given us a glimpse of the flourishing compositional life of the Chicago Organ community. Some names we have = known better than others. Dudley Buck, Clarence Eddy, to name two that come = easily to mind. Borowski was new to me, and may well be one of the strongest composers of the lot. There are surely organists in this city that will = have known personally those, like Borowski, who lived beyond the middle of the last century. In any case, Stephen, Susan Werner Friesen (Program Coordinator) and the many people who worked with them on the artist and repertoire aspect of this convention (and the players themselves) deserve our thanks for the enrichment of our knowledge of these Chicago musical personalities. This recital was a splendid and uplifting ending to yet another OHS day! Thank you Stephen for so much!   Malcolm Wechsler www.mander-organs.com              
(back) Subject: Re: Wedding blues From: "MusicMan" <musicman@cottagemusic.co.uk> Date: Sun, 28 Jul 2002 13:03:19 +0100     -----Original Message----- From: cmys13085@blueyonder.co.uk <cmys13085@blueyonder.co.uk> To: PipeChat <pipechat@pipechat.org> Date: 27 July 2002 23:43 Subject: RE: Wedding blues     Hello,   I have a view about late weddings and delays...as an Organist ...and as a Bell-ringer !   Although a delay when on the organ bench is inconvenient, the same delay when ringing a 2,000 lb.. bell is a MUCH LARGER inconvenience. When I have rung for 20 / 30 mins. I DO NOT WANT TO BE KEPT WAITING !! just so that Madame can have 10 more photographs taken.   Look Darling; if you want 'pretties', then arrive 10 minutes earlier and have as many as can be taken in 10 minutes - then GET ON WITH IT - the service, that is.   Which is why you're here, at the church, in the first place.   Please remember; bell-ringers are musicians, as well ........ even if = we've only got one note, each !   Harry Worcs. UK    
(back) Subject: RE: late weddings From: "Josh & Amy Edwards" <fbcorganist@charter.net> Date: Sun, 28 Jul 2002 08:19:39 -0400   Jeff,   I was told once that the bride's mother was making the dress... And she didn't have it finished; it was still in two parts the hour the wedding rolled around. The wedding started 45-minutes late!   Josh in TN      
(back) Subject: RE: late weddings From: "Glenda" <gksjd85@direcway.com> Date: Sun, 28 Jul 2002 08:20:13 -0500   Well, Jeff, just as I started my own wedding procession, my veil fell off. It was a pain in the ass to get it back on. You guys have probably not experienced having hat pins driven into your scalp to hold a flimsy headpiece which in turn holds twenty pounds of netting with lace and sometimes beads. Secondly, the florist was late, putting up the flowers while the guests were arriving, and we had to wait for her to get out of the way. I was ready to go, my veil on, standing at the window and cursing. My sister-in-law matron of honor did not know that such a sweet young flower knew and could use to such language.   Of course, we weren't twenty minutes late, only five.   I won't even mention the wedding cake that looked like the leaning tower of Pisa, and the 100 crickets let loose in the getaway car by my brothers. The best part of the whole experience was knowing I didn't have to stay to clean up.   There was no organist (it was an outdoor wedding), or I would have had him arranging flowers! Glenda Sutton gksjd85@direcway.com     -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org] On Behalf Of Jeff White   Ladies, honestly, what have you experienced as brides that may have caused a delay, because we men organists don't get it! :-)          
(back) Subject: Timely Weddings From: "First Christian Church of Casey, Illinois" <kzrev@rr1.net> Date: Sun, 28 Jul 2002 09:28:53 -0500   I come at this problem as a clergyperson (who happens to be an organist on the side). Maybe I'm lucky, but in 25 years of weddings, I've never had one start later than five minutes past stated time. I emphasize timeliness in rehearsal, and I intentionally have the processional start 3-5 minutes after the official time (the organist and all are cued ahead of time on that one). I started doing that when I realized that fewer and fewer people realized that the time on the invitation was the time when the processional was supposed to start, and not when the service music started.   Dennis Steckley   Ich liebe meine Katzen   -----Original Message----- Now this is a good point! My previous church...the pastor would say at the rehearsal: "Now, what time is the wedding??" (he'd get an answer) "That's right...so we must be ready at 10 minutes before...the processional starts at (wedding time.)" I think this is a good way of doing it...even though it RARELY works.   Ladies, honestly, what have you experienced as brides that may have caused a delay, because we men organists don't get it! :-)   Jeff          
(back) Subject: Cameron Carpenter Recital, Phoenix, Arizona: An Appreciation From: <Lewwill@aol.com> Date: Sun, 28 Jul 2002 13:28:47 EDT   Dear Listers   Last Thursday, July 18th, the Central Arizona Chapter of the AGO presented =   Cameron Carpenter in recital at Phoenix's First United Methodist Church, = in conjunction with their week-long "Pipe Organ Encounter," which attracted = 28 student organists from near and far. A good-sized crowd turned out to = hear Mr. Carpenter on the three-manual Casavant/Sipe instrument. They were not disappointed, for Cameron Carpenter, at 21, is an outstanding virtuoso and =   musical communicator of the highest order.   First of all, he possesses a formidable technique. Having conquered the piano early (performing the complete Well-Tempered Clavier at age 11). the =   great piano works of Chopin, Liszt and others are executed with ease. A matching pedal technique is aided and abetted by special shoes with high block heels. Scales, arpeggios, and chords (even those played with heels = on the sharps) are executed more smoothly and evenly than many can play with their hands. The art of bridging between manuals has also been highly developed, spanning not just two manuals, but three.   The skeptic might suspect that this suggests a mere show of pyrotechnics, = but Cameron Carpenter keeps his technical gifts firmly at the service of the music. He never plays faster than the ear can follow, and the densest textures remain perfectly clear, employing a variety of touches that go = far beyond the simple concept of "articulation" or "phrasing." Console = demeanor is calm, with no excess motion. In speaking to his audiences, he = dispenses with the typical historic approach and describes in general terms the mood = of the pieces to be played. Performing from memory, he is totally focussed on =   his interpretations, which are virile and healthy, without the slightest eccentricity. One is reminded of the playing of the brilliant Jeanne Demessieux in the energy he exudes.   The recital opened with a powerful performance of the "Wedge" Prelude & = Fugue of Bach. While the work was played on a plenum, it did not remain = unaltered throughout. Cameron made deft use of hand registration to add or subtract stops as the musical texture dictated, resulting in a subtle "ebb and = flow" that made perfect sense.   Two canons of Schumann (Ab Major, B minor) followed: the first was phrased =   beautifully, while the second was (in his own words) "mischievous." = Bach's Prelude & Fugue in G Major, #15 (Well-Tempered Clavier) was an astonishing =   arrangement: the left hand part being given over to the pedal, leaving the =   hands free to clearly delineate the other voices. "Naiades" (Water = Nymphs) of Vierne was so easily executed that one forgot what a difficult piece it =   really is.   "Nun komm, der heiden Heiland" (Leipzig Chorales) was sensitive & introspective. The first half concluded with Middleschulte's Perpetual Motion, arguably one of the cleanest and most musical performances this = work has ever received.   During the intermission, many members of the audience submitted themes for = an improvisation, slips of staff paper having been inserted in the printed programs.   The second half was to have begun with Cameron's transcription of William Walton's "Crown Imperial," but upon reappearing at the console it was the Finale of the William Tell Overture that we heard, flawlessly played (in = Db rather than E). He then remarked that he'd had so many requests to play = The Stars & Stripes Forever he was going to present that = next...............and what a presentation it was.   Those who know the piece well are aware of the many different themes Sousa =   combined simultaneously in the final stanza. During the trio, the audience =   was astounded to see the Piccolo obligatio played in the pedals on a 2' = stop, slick, articulate and perfectly trilled. The next section was played = entirely in the pedals, leading into the final statement of the theme with both = feet flying, both hands bridging, and all themes present. This transcription, a =   worthy foil to Vladimir Horowitz's piano version, got the biggest hand of the evening.   Bach's G Major Prelude & Fugue (BWV 451) was spirited. The leaping passagework of the prelude was more freely presented than is usually = heard, but it worked splendidly; the fugue's counterpoint was beautiful and = clear.   Cameron concluded his recital with an extended improvisation in three movements. A hymn tune composed by Dr. Christopher Samuel was used for the =   first movement, a scherzo theme was submitted by Ellen Brown for the = second, while a number of other themes were combined in the third, including the = Star Spangled Banner.   His improvisational style is quite tonal, the textures can be dense (but = not heavy), with six or more voices going at times (double pedaling and manual =   bridging being put to good use). A full range of colorful registrations = were employed, and the fieriest virtuosity of the evening was brought to the = fore.   After the concluding ovation, Cameron came out for an encore and more mischief, playing the Lemmens Fanfare (perfectly) about 2-1/2 times faster =   than its usual tempo. It was a stunt, but a fun ending to a very full evening of music. Excellent programming and interpretation held the audience's complete attention for the two-hour concert, no mean feat these days.   If you've not heard this gentleman play before, make every effort to do = so. For further information, please check his website at = www.cameroncarpenter.com     Lew Williams