PipeChat Digest #3241 - Tuesday, November 19, 2002
[VERY LONG] A Pilgrimage . . . part 2 of 3
  by "Glenda" <gksjd85@direcway.com>
Re: Recital Programmes
  by "Karl Moyer" <kmoyer@marauder.millersville.edu>
"M" Style playing
  by <Kzimmer0817@aol.com>
Re: PipeChat Digest #3237 - 11/17/02
  by "John L. Speller" <jlspeller@mindspring.com>
Murrill Carillon
  by "Chapman Gonz=E1lez" <chapmanp@comcast.net>
Re: Recital Programmes
  by <DudelK@aol.com>
Felix Hell on Both Sides of the Hudson - 11/17/02
  by "Malcolm Wechsler" <manderusa@earthlink.net>

(back) Subject: [VERY LONG] A Pilgrimage . . . part 2 of 3 From: "Glenda" <gksjd85@direcway.com> Date: Mon, 18 Nov 2002 18:24:34 -0600   A PILGRIMAGE TO HOTLANTA   Part Two of Three   Sunday, November 10, dawned, overcast and chilly. However, that did not dampen our spirits on this day of days. We took in the principal service at St. Philip's Cathedral, arriving just as the morning service was ending. Attendance was huge - the people just kept pouring out of the church for several minutes. We were able to tour the church in peace and hear the choir practice. The rehearsal was better to me than the service itself, making my first church attendance since leaving St. A's everything I hoped it would be.   The service: Voluntary: Prelude on Picardy - Gerald Near Processional Hymn: Awake, my soul, and with the sun (Morning Hymn) Gloria - Powell Gradual - setting Peter Hallack Sequence Hymn: Once he came in blessing (Gottes Sohn ist kommen) Offertory anthem: Audivi, media nocte - Thomas Tallis The Presentation: From glory to glory advancing (St. Keverne) Sanctus - Powell Breaking of the Bread - Ambrosian Chant Communion Anthem - Adrian Batten Communion hymns: The Lord will come and not be slow (York) Jerusalem, my happy home (Land of Rest) Let all mortal flesh keep silence (Picardy) Closing hymn: Signs of endings all around us (Ton-y-Botel) Voluntary: Chorale Fantasia on Ton-y-Botel - Healey Willan   I would have chosen more congregation-friendly hymns, but was satisfied nonetheless. The organ is of course a Skinner finished by Joseph Whiteford, and very suited to the building. We were fortunate in that the very best of several of the adult choirs was singing this morning. I had been told of the organist's great improvisatory powers, and he did not disappoint. However, even the best improvisers borrow from others, and during communion he borrowed from Hancock for "Land of Rest" and from Near in improvising on "Picardy". After the service we went up and spoke briefly to Bruce Neswick, Canon for Music, and his assistant organist, whose name I did not catch. Both were friendly and gracious.   Because we were scheduled to meet Malcolm Wechler for lunch and he was attending service at Peachtree Road United Methodist Church, we were not able to tarry and further admire the organ at St. Philip's. Peachtree Road UMC is a huge imposing building. One must walk in the front door of the church, through the impressive foyer and into the main sanctuary from the back in order to get the appropriate first impression of this instrument. Malcolm's pictures to me during the installation did not do it justice. I do not even remember walking up the aisle, because my attention was riveted to the towers of pipes.   We found Malcolm and Michael Shake, the assistant organist, in the large sanctuary with John Mander. Michael played the Toccata from Boellman's Suite Gothique for us - I, as the only degree-holder in page-turning, was drafted into service while the others roamed the room. This was a beautifully appointed room replete with all the wood and hard surfaces for which an organist dreams. I was happy to be able to see the room in daylight, with the magnificent windows. But of course, the crowning glory of the room was the organ itself, the twin towers surrounding a large rose window and gleaming empty cross (not a crucifix as stated in John Mander's program notes for the recital - Baptists and Methodists display empty crosses, not crucifixes). There was no end to being impressed - even the trackers and the 32' in the back were definitely of "wow" material.   We briefly toured the lovely chapel, decked out with the church's former organ (I believe a Schantz but my memory is fuzzy), before I was dragged out the door in order to allow Mr. Shake the opportunity to practice for his evening performance. Malcolm showed us his temporary digs before we found a dive called Cowtippers (which I wanted to call Cowtipplers). Malcolm and I chowed down on fried mushrooms and Bailey's cheesecake, with some entree in between of which I have no memory. And we talked the talk of good friends and organists, again for a couple of hours, before parting company.   Because we had been warned that St. Philip's choir would be singing at the evening performance at Peachtree Road UMC and that a visiting choir would be doing evensong at St. Philip's, we opted for evensong at All Saints' Episcopal Church. The choir, directed by Jefferson McConnaughey, was good, and the organ nice, a Schantz of 3 manuals, I believe (I thought I had the stoplist on me, but could not locate it in my papers). The church will be installing a 4-manual, 87-rank Buzard organ on or before All Saints' Day 2003. The service included evening canticles by Sumsion in G; the psalm tunes were by Farrant and Thalben-Ball in F; the hymns were "Christ, mighty Savior" (Mighty Savior), "O Food to Pilgrims given" (Psalm 6/Edsall), and "Judge eternal, throned in splendor" (Komm, o komm, du Geist des Lebens). The choir sang Mozart's "Ave verum corpus" for an anthem, and McConnaughey chose Bach's "Wachet auf" for a closing voluntary. The verger was a knockout, but almost didn't let me have any wine at communion.   Again we did not tarry, having been warned to make it to Peachtree Road UMC early. We arrived an hour before the event, and the main floor of the church was already filled to capacity. A quick reconnaissance resulted in the spying of seats in the main gallery, and we quickly secured same, with a glorious view of the organ, symphony and choir.   The organ was very similar in design to that of St. Ignatius Loyola, NYC, and in fact Malcolm relayed that the pastor of this church examined that organ and wanted one just like it, "only bigger". Therefore, I believe this organ has three stops more than St. Iggy's.   The program: Michael Shake, organist for the first half of the concert Scott Atchison, organist for the Stephen Paulus concerto Atlanta Symphony, conducted by Robert Spano Choirs of Peachtree UMC and Cathedral Church of St. Philip's   I was glad when they said unto me - C. H. H. Parry O clap your hands - Ralph Vaughan Williams Evening Service in C: Magnificat and Nunc dimittis - C. V. Stanford Coronation Anthems: Zadok the Priest and The King shall rejoice - G. F. Handel The Old Hundredth Psalm Tune - Ralph Vaughan Williams (choir and congregation)   intermission   Concerto for Organ, Orchestra and Chorus - Stephen Paulus (commissioned and premiered for this event): With Drive and Vigor Delicately Buoyant and Rollicking Laudate Dominum   Michael Shake stated to me afterward that he was afraid of drowning out the orchestra, to which I replied that we were cheering for him and he lost the battle. From where we sat in the gallery the organ could not be heard during the Parry and Handel selections. However, it peeked forth several times during the rest of the first half, and Michael did a handsome job. The choir and orchestra were extraordinary and thrilling.   The Paulus work was an interesting composition, particularly for the orchestra, which did a superb job. The organ part was nice for the first and third movements, not as interesting during the second movement. At times allusions to Copland and Bernstein could be heard. The Laudate Dominum was a tour de force for all, with only a certain repeated compositional awkwardness at the point of the "Omnis spiritus". It was a spirited and wonderful conclusion to a monumental evening for the participants, the church, and the city.   Afterward, we were able to speak to Mr. Shake and our new friends the Brownlees. I discovered that Ken and I shared experience with the Florida child welfare system. We were also able to again admire the console and drool on the 32' pipes. The action of the beautiful wooden keys was stiff like an old Steinway.   We totally missed Malcolm in all the press of bodies at the reception, so we decided to refresh ourselves elsewhere. After all, one can fondle the fine wood of a great organ only so long before becoming thirsty. Given a punchbowl of my own beside the console, I could have stayed all night.   Next installment: The piece d'resistance; I steal Malcolm's laptop, am caught and forced to make restitution.   Regards,   Glenda Sutton gksjd85@direcway.com          
(back) Subject: Re: Recital Programmes From: "Karl Moyer" <kmoyer@marauder.millersville.edu> Date: Mon, 18 Nov 2002 19:02:34 -0500   > I would like to vary Colin's challenge a bit. We all have favorite pull-out-all-the-stop warhorse recital fare, but what would be your = favorite softer organ music to intersperse in a recital? This is the harder = question for me in trying to come up with a response to Colin's query. > Glenda Sutton > gksjd85@direcway.com   Schumann Fugue in B -A-C-H, Op. 60. No. 3 Schumann Canon in B major, Op. 56, No. 6 Wagner, trasn. Archer Gibson: "Liebstod" (_Tristan und Isolde_) Rheinberger Vision, Op. 156 No. 5 Widor Andntate Cantabile (Symph 4) Saint-Saens "Pro Martyribus" (Sept, Imrpovisations), Op. 150, No. 5 (A gorgeous, very slow piece, esp. nice with nice flute stops at 8' and perhaps 4') Reger Benedictus, Op. 59, No. 9 Sowerby Carillon Elgar Nimrod (Enigma Variations) Bach Wir glauben... (the one probably not by Bach at all = but with double pedals; a LOVELy piece.) Dupre In Dulci Jubilo (from _79 Chorales_)   Ist das genug?   Karl E. Moyer Lancaster PA > From: "Glenda" <gksjd85@direcway.com> > Reply-To: "PipeChat" <pipechat@pipechat.org> > Date: Mon, 18 Nov 2002 17:52:28 -0600 > To: "'PipeChat'" <pipechat@pipechat.org> > Subject: RE: Recital Programmes > > > > > -----Original Message----- > From: pipechat@pipechat.org [mailto:pipechat@pipechat.org] On Behalf Of > cmys13085@blueyonder.co.uk > > A hypothetical scenario......a substantial eclectic organ in a good > acoustic. > > What recital programme would pipechatters like to hear most, given the > above and a good performer? > > > > > > "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: "M" Style playing From: <Kzimmer0817@aol.com> Date: Mon, 18 Nov 2002 19:52:10 EST     --part1_ad.267de2ae.2b0ae53a_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Gregory,   You said....   > ...or playing something in a masturbatory style that just makes you = feel > good, or uses loud reeds....   Can one do that while playing Bach? Please elaborate.   Keith   --part1_ad.267de2ae.2b0ae53a_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>Gregory, <BR> <BR>You said.... <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"> ...or playing = something in a masturbatory style that just makes you feel good, or uses = loud reeds.... &nbsp;&nbsp;</FONT><FONT COLOR=3D"#000000" SIZE=3D3 = FAMILY=3D"SANSSERIF" FACE=3D"arial" LANG=3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0"> <BR>Can one do that while playing Bach? &nbsp;&nbsp;Please elaborate. <BR> <BR>Keith</FONT></HTML>   --part1_ad.267de2ae.2b0ae53a_boundary--  
(back) Subject: Re: PipeChat Digest #3237 - 11/17/02 From: "John L. Speller" <jlspeller@mindspring.com> Date: Mon, 18 Nov 2002 21:19:48 -0600     ----- Original Message ----- From: "John Foss" <harfo32@hotmail.com> To: <pipechat@pipechat.org> Sent: Monday, November 18, 2002 4:00 AM Subject: Re: PipeChat Digest #3237 - 11/17/02     > My teachers,in a direct line from the great masters of the French = School, > (Ralph Downes and Norman Johnson, a pupil of Andre Marchal) taught me to > play with both heels and toes. I was brought up on Dupre's organ method. The > purpose is to have the ability to control precisely the movement of your > feet, legato, staccato or marcato. I still find having the use of both = an > asset.   Furthermore, the only two late eighteenth-century treatises on organ = playing in Germany that we possess, one by a pupil of a pupil of Bach, make it = quite clear that the heal WAS used in eighteenth-century Germany. It may not = have been as extensively used as it often is today, but used it was. The only reason why the neo-baroque enthusiasts of the 1960's thought Bach did not use his heals was that they thought this would have been inconvenient on = the pedalboards of the day. They did not actually have any historical = evidence for suggesting that the heal was not used. It may well have been the case that it was less convenient to use the heal on eighteenth-century German pedalboards than it is today, but it seems that Bach probably did so = anyway. And some of Bach's organ music simply cannot be played satisfactorily without using the heal.   John Speller    
(back) Subject: Murrill Carillon From: "Chapman Gonz=E1lez" <chapmanp@comcast.net> Date: Mon, 18 Nov 2002 22:53:26 -0500   Dear List, After the discussions here about the Murrill Carillon, I ordered and = got it very quickly from OHS. Nice piece and very accessible. I do have one question about the opening metronome mark. They indicate <eighth note = =3D eighth note> but no number. I'm assuming that to play the piece you use = the eighth note as the rhythm unit because some measures have different = lengths.   Does anyone have suggestions for the actual tempo? With a big registration, one can go quite slowly for a wonderful effect. But, I'm = not sure this is correct. Any help will be appreciated.   Chapman in Baltimore   chapmanP@comcast.net    
(back) Subject: Re: Recital Programmes From: <DudelK@aol.com> Date: Mon, 18 Nov 2002 23:20:52 EST     --part1_49.26b9995d.2b0b1624_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Mendelssohn -- Soft movements from #1, 3, and 6 Vaughan Williams -- Rhosymedre Widor -- Adagio from #5 Mozart -- Adagio for Glass Armonica JSB -- Bist du bei mir, Jesu Joy, Sheep May Safely Graze, O Mensch Bewein Boellman -- Priere a Notre Dame (Suite Gothique) JSB -- Sinfonia from Gottes Zeit and Arioso (I stand with one foot in the grave) Handel -- Minuet from Berenice Thalben-Ball -- Elegy Dupre -- I am Black but Comely Boyce -- Ye Sweet Retreat just for openers . . .   --part1_49.26b9995d.2b0b1624_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">Mendelssohn -- Soft movements from #1, 3, and = 6<BR> Vaughan Williams -- Rhosymedre<BR> Widor -- Adagio from #5<BR> Mozart -- Adagio for Glass Armonica<BR> JSB -- Bist du bei mir, Jesu Joy, Sheep May Safely Graze, O Mensch = Bewein<BR> Boellman -- Priere a Notre Dame (Suite Gothique)<BR> JSB -- Sinfonia from Gottes Zeit and Arioso (I stand with one foot in the = grave)<BR> Handel -- Minuet from Berenice<BR> Thalben-Ball -- Elegy<BR> Dupre -- I am Black but Comely<BR> Boyce -- Ye Sweet Retreat<BR> just for openers . . .</FONT></HTML>   --part1_49.26b9995d.2b0b1624_boundary--  
(back) Subject: Felix Hell on Both Sides of the Hudson - 11/17/02 From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Tue, 19 Nov 2002 01:39:23 -0500   Felix Hell on Both Sides of the Hudson - 11/17/02   This was a potentially complicated day, this 3rd Sunday in November, speaking for myself only. The alarm sounded at 6 a.m., I did the Sunday morning chores (dog feeding, nail clipping, the usual) including a last = look at some music, and headed out for my one hour trip to the church. Rain, rain, rain, everywhere! Choir rehearsal was fruitful and fun, the service was the usual mix of comfort, uplift, and enlightenment, our faithful and clever choir made me proud, and I was not too much of a bumbler at the ancient Hook & Hastings. As I am in the first few days of my second time around with the Atkins Diet (no carbohydrates need apply), I had brought along a gorgeous salad of my own making, with lots of zero carb good = things, picked up a fresh coffee at the Mobil station in Westchester on the Hutch, and sat in the parking lot in the shadow of the most enormous, strange, = and ugly cell tower in Christendom, trying to look like a grotesque tree - but what a signal. I checked in with my partner at home, and with Hans Hell about arrangements for the first Felix event of this day, and cheerfully munched away with Garrison on the radio, and rain drops beating on the windows. I paid my $24 to park in the Park & Lock at Lincoln Center and found my way to the Tully box office. Thanks to Hans's intervention, I = went to the V.I.P. table (I'll get over it!) and picked up the seat of my = choice, on the aisle, organized for a quick getaway when Felix finished his part = in the show. This was lucky, as the place was really packed with many young children and parents.   The show was called "Inspector Pulse and the Contrapuntal Contraption." A fair bit of teaching took place in this, as four young musicians showed up one by one to demonstrate to the Inspector (Bruce Adolphe) that his Contraption really was useless, by playing contrapuntal music on their instruments better than anything he could produce. First visitor was Orion Weiss, a 20 year old Juilliard Piano student, who has already done impressive things. He played for us, absolutely beautifully, to the increasing amazement of the Inspector, two Bach Two-Part Inventions, and then three Canons from the Goldberg Variations. This was wonderful, and quite clearly the large assemblage of kids knew that, and responded with respectful silence, and really enthusiastic applause at the end. Since = Orion was endangering the importance of the Contrapuntal Contraption, he was summarily dismissed, only to be replaced by the wonderful Sharon Roffman (hereafter known as Professor Polly Phony), a Juilliard Violin student, = who brilliantly played the Fugue from the Bach Unaccompanied Violin Sonata in = G Minor. Once again, the kids all paid rapt attention, and cheered loudly. = Ms Roffman was also summarily dismissed, following which this blond kid = glided across the stage on his skateboard, our Felix on wheels. Like the others, = he had learned his lines well, and as Count R. Point, he proceeded to the = large Kuhn Organ to play the Fugue of the great D Major Prelude and Fugue of = Bach, certainly a clear bit of counterpoint, and again, the children were full = of attention, and cheered loudly once again. There was a great fuss made = about him changing his shoes - "There he goes, he's tying the laces on his right shoe now," etc. It was all great fun, and when he was summarily dismissed, = I took my leave. Hans had the car ready and running on the street outside, = to whisk away Felix and Professor and Mrs. Panzer, and I ran for my car in = the garage - it was now a bit after 3. As Hans said, they cannot start without us! We had to miss hearing the last victim, young 'Cellist Adrian Brendel (yes, the son of Alfred), who, with Orion Weiss and Sharon Roffman, was to perform a movement from a Schubert Trio and then something called "Turkey = in the Contrapuntal Straw," devised (possibly decomposed!) by Bruce Adolph. = No child present at this event will ever forget the words Counterpoint or Contrapuntal! Some of them might even remember that they heard someone play a Pipe Organ. Score one.   Through the now pelting rain, and through a mercifully very thinly = traveled Lincoln Tunnel (where it never rains), on to Sacred Heart Cathedral, = Newark in pretty good time. A quite large crowd awaited this event, and no one = left unfulfilled, despite Felix having chosen to ignore my instructions to = enter the cathedral by the west door, and to skateboard the full length to the Organ console. We visionaries don't get no respect!   The program began with a set of pieces of Dupre that dummy here had never heard - Entr=E9e, Canzona, and Sortie, Opus 62. This is wonderful music. = At some point, I sensed that something might be amiss, and Hans explained = later that the west end Organ had not been switched on, which Felix could not notice right away, as he was fully surrounded by sound from the large Chancel Organ. But, at one point, he headed for the fourth manual, which = had nothing to offer, so cool as always, he moved smoothly without delay to = the third, where something suitable was fortunately drawn. What he missed was, of course, the front and back play he had hoped for, but not to worry. The performance was beautiful, and we were none the wiser.   Then, a most loving and thoughtfully registered performance of the great Bach C Minor Passacaglia (or Passacaglia and Fugue if you prefer). Someone on list advocated performing this work on one Plenum all the way through, and with the right, clearly focused Organ with the kind of beautiful Plena of which one does not tire easily, and these instruments do exist, this = can surely work and satisfy. However, not here, I think. I well remember a recitalist coming to the big Romantic instrument (Skinner/Mander) in the Princeton University Chapel, getting ready for a recital. He was playing some Bach, and spent at least an hour working out his Plenum! This = consisted of Principals at 8, 4, 2, with the possibility of a 12th and, of course, = two Mixtures, and he tweaked away at this problem, changing one two foot for another, and one four foot for another, and on it went. In that ambience, none of this would make a bit of difference! In that splendid building, as at Sacred Heart, you are not in line-of-sight to encased and focused pipework. The pipes are in chambers, and there is an ooze factor to be considered. I recall Vernon deTar responding to our criticism of a = performer at the Riverside (pre-acoustical re-do, of course) who had mixed fat and thin in his choruses. Vernon's comment: "This is a big, Romantic Organ. Treat it like one, and you and your audience will achieve happiness." = Well, we and Felix achieved that happiness on this occasion. It was a bit Biggsian, and possibly even better. He began very gently, and gradually, = the piece unfolded, with registrations that matched the musical character of each variation, to a majestic finish. He began the Fugue quite legato, = which worked very nicely in the building. At one point, a rather bright and = lovely Trumpet sounded out the theme in the treble. Eventually reedy textures = took over, and we were led to a very grand ending. This was really fine = playing, and the audience clearly responded to it. I began to think evil thoughts about the Mixtures in this instrument. You kind of need them for clarity = in the big moments, but they really, at least for me, are on the shrill side, and seem not to be supported by enough breadth below them, perhaps at the = 2' level or even below.   Of the three Franck Chorales, I see the B Minor as the most introspective, rather another passacaglia, nicely complementing and contrasting with the Bach. I found it a bit fast and perhaps a bit perfunctory. There are beautiful subtleties that seemed to get passed over here and there, and = from my point of view, I think this wants a rethink. However, it was by no = means anything less than a good performance, and if it was met with slightly subdued applause, it had only to do with the fact of the very quiet = ending. There was a lovely appearance at the very end of what I surmised to be a gorgeous French Horn.   The Guilmant First Sonata in D Minor is an amazing and massive work, and Felix does not play it by halves. I heard him play it at Methuen, and I think perhaps somewhere else, and it does not get any better because it = can' t. It is already the best anyone could possibly make of it, which is = pretty fabulous. The beautiful Pastoral was to die for. Those big "rumble strips" in the last movement were perhaps more clear here than ever I have heard, and at the end, the big en chamades sent the whole thing over the top. = Wow! This was intermission time, and there was a real and clearly very happy = buzz in the crowd. Those manning the CD table could hardly keep up! And by the way, this recital was recorded, and with possibly a few retakes to get rid of the often very loud rain noise on the roofs of this massive building, = we may all get to relive the event - but that is just speculation at this point. I'll be near the beginning of the line to the cash register if it happens!   After intermission, the entire second half was devoted to the Liszt = Fantasy and Fugue on "Ad Nos ad Salutarem Undam." Devoted is the word. Felix is in top form. He fully understands the language of the Romantics, and has essentially digested this immense work whole - it is now a part of him. = And this engagement at Sacred Heart was not treated lightly. Preparation for = it was a serious matter, and for the last few months, he has been grabbing = time and making the trip up to Newark whenever he could get an evening in the cathedral, all this around a full schedule of recitals and the demands of school. While he has basic registrational patterns for his big pieces well established, fleshing them out with the resources of this instrument is a major work, and he obviously did it carefully and well. The spectacle of someone so completely at one with a vast and intricate work, requiring = lots of changes of sound and mood, great and small, all executed with complete strength and control, this is a beautiful thing to behold. When it ended, the audience, almost as one, jumped upright, clapping and cheering for a long time. Felix, having played, I am told brilliantly, through a bad cold in Buffalo, having flown out of there at 6 a.m. on Saturday to make a rehearsal for the Tully event, having taken part in the Tully Caper, and then having crossed under the Hudson to get to the next event in his weekend, still had a bit of energy to share, and without any announcement (none needed), he gave us the Widor Toccata from the Fifth, followed by renewed cheers. That was it - "who could ask for anything more?" About an hour later, Felix having spoken to all who wanted to visit with him, = headed out through the wind and the rain for about the same hundred miles I was facing, but he was heading south, and I north into the teeth of a great = Nor' easter. In the morning, the (first) "snow lay on the ground!"   I was a-glow all the way home, as I think just about everyone who attended had to be. This recital was an epic event, not soon to be forgotten.   Real cheers,   Malcolm Wechsler www.mander-organs.com