PipeChat Digest #3109 - Wednesday, September 4, 2002
 
Redundant organs in UK
  by <cmys13085@blueyonder.co.uk>
Re: Sunday, September 1
  by "Robert Lind" <Robert_Lind@cch.com>
Re:  Franck Chorale in A Minor
  by "Dr. Jonathan B. Hall" <jonathan@jonathanbhall.com>
Re: Franck Chorale in A Minor
  by <AFberlin3@aol.com>
RE: Franck Choral in A Minor
  by "Emmons, Paul" <pemmons@wcupa.edu>
John Giacchi to play Rochester Wurlitzer on Sept. 21.
  by "Kenneth Evans" <KEvans1@rochester.rr.com>
RE: Franck Choral in A Minor
  by "Emmons, Paul" <pemmons@wcupa.edu>
Re: Redundant organs in UK
  by "jon bertschinger" <jonberts@magiccablepc.com>
RE: Redundant organs in UK
  by "Emmons, Paul" <pemmons@wcupa.edu>
EU organs in USA, etc.
  by "jon bertschinger" <jonberts@magiccablepc.com>
Organ Maintenance, Philadelphia area
  by "Shirley" <pnst.shirley@verizon.net>
Re: Franck Choral in A Minor
  by <AFberlin3@aol.com>
 

(back) Subject: Redundant organs in UK From: <cmys13085@blueyonder.co.uk> Date: Wed, 4 Sep 2002 14:03:43 +0100   Hello,   John Speller quite rightly points out that attempts are made to find = homes for redunadant organs via a register.   Unfortuantely, no-one is obliged to do anything and there is little = evidence of organs being protected as they are elsewhere. We have lost = a number...a high number, of very significant instruments over the last = 40 decades or so.   Broadly speaking, the church and civic authjorities are just not = concerned with anything which stands in the way of "progress" short of a = public outcry.   The appreciation of the organ in the UK must be at an all time low. In = fact, I would stick my neck out by suggesting that Cromwell was a saint = compared to the current generation.   With little will in central government (and not many brains), the issue = tends to fall on local government and diocesan/circuit authorities which = are even worse. But for the efforts of the few and one or two dogged = individuals, the destruction of organs in the UK would have been far = worse than it already has been.   Regards,   Colin Mitchell UK         -----Original Message----- From: "pipechat@pipechat.org" <pipechat@pipechat.org> on behalf of "John = L. Speller" <jlspeller@mindspring.com> Sent: 03 September 2002 23:58 To: "PipeChat" <pipechat@pipechat.org> Subject: Re: A depressing landscape   The British Institute of Organ Studies (BIOS) maintains a register of redundant organs and attempts to find new homes for them. See their = website at   www.bios.org.uk   John Speller   ----- Original Message ----- From: <MFoxy9795@aol.com> To: <pipechat@pipechat.org> Sent: Tuesday, September 03, 2002 2:29 PM Subject: Re: A depressing landscape     > Is there a counterpart to the Organ Clearinghouse in the UK???       "Pipe Up and Be Heard!" PipeChat: A discussion List for pipe/digital organs & related topics HOMEPAGE : http://www.pipechat.org List: mailto:pipechat@pipechat.org Administration: mailto:admin@pipechat.org Subscribe/Unsubscribe: mailto:requests@pipechat.org  
(back) Subject: Re: Sunday, September 1 From: "Robert Lind" <Robert_Lind@cch.com> Date: Wed, 4 Sep 2002 08:33:19 -0500   I went in a different direction on 9/1, the final Sunday of my choir's summer hiatus. We have a very sensitive clarinetist in our church, and the contemporary folks have purchased a = wind synthesizer that he has been playing for a while. He asked me to find = him some music that would give him a chance to explore different colors. I decided to accompany him on the piano, and we did the following for = prelude (the wind synth featuring oboe, trumpet, and flute, respectively):   Peeters--Aria (IIRC, this originally was the middle movement of a trumpet sonata) Roy Brunner--Trumpet Tune in Bb Sicilienne--Faur=E9   The sermon stressed Total Surrender, and I (blush) reached back to my fundamentalist past and arranged "I = Surrender All" for wind synth (French Horn sound in the baritone-tenor range) and piano.   Organ postlude was Triumphal March (1896) by John Hyatt Brewer, which is a perfect American holiday piece.   Some may dismiss the wind synthesizer as just one more piece of digital trash, but I was quite pleased with the results. As one would expect, some sounds are much more convincing than others, and if the player, sound system, and room cooperate, the end = product can be pretty darn good.   Bob Lind =20         =09     Did anyone play any good or neat music today in church?   Glenda Sutton gksjd85@direcway.com    
(back) Subject: Re: Franck Chorale in A Minor From: "Dr. Jonathan B. Hall" <jonathan@jonathanbhall.com> Date: Wed, 4 Sep 2002 06:55:38 -0700 (PDT)   >Subject: RE: Franck Choral in A Minor From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Tue, 3 Sep 2002 13:43:16 -0400   Is it a respectable suggestion that Franck's Three Chorals might represent the three persons of the Trinity?   This may be too fanciful, but it it is true, then those sixteenth notes   are the "mighty rushing wind." I inevitably think of this, at least, when playing them.   >  
(back) Subject: Re: Franck Chorale in A Minor From: <AFberlin3@aol.com> Date: Wed, 4 Sep 2002 11:57:13 EDT     --part1_17c.dc64102.2aa78759_boundary Content-Type: text/plain; charset=3D"ISO-8859-1" Content-Transfer-Encoding: quoted-printable   In a message dated 9/4/2002 3:56:45 PM W. Europe Daylight Time,=3D20 jonathan@jonathanbhall.com writes:     > Still, it is nice to observe that for the devout Catholic of the late > 19th century, everything happens in threes! The three-fold-ness > (Dreifaltigkeit) of the Chorales could be significant on that level. I > just don't find a case for this imagery in the music. >=3D20 > As far as "rushing wind" in the 16th notes, whatever mental images help > you bring out the music are inherently valid! There is no problem here > at all--just no way I can find to make an objective case for the > imagery. =3D20 >=3D20 > (Lord, you should hear the words I set to the 'Three Dances' to get the > rhythms right!!) >=3D20 > Any other thoughts on this?? >=3D20   I have a thought on this, JB-- It doesn't strike me as overtly Trinitarian, but then again, he wrote = three=3D20 chorales, Trois Pi=3DE9ces, and then six other major works for organ. = That co=3D mes=3D20 to a total of 12. Each set totaling a multiple of three. Who knows? It = migh=3D t=3D20 have been his own private way of writing Deo gracias. I will say = this,=3D20 though: the 3 chorales make a marvelous, profound half of a program = when=3D20 played together as a set. And considering the endings of the three = (E=3D20 major=3D3Dloud, B minor=3D3Dsoft, A minor=3D3Dloud), there is a quasi = grand sonata=3D or=3D20 3-movement symphony feeling when all are played together. The = passacaglia=3D20 form of the B minor fits like the slow movement of the Beethoven 7th=3D20 Symphony.   For anyone else who might be interested, I want to share a personal = insight=3D20 that I had into Franck's music: Chopin stayed in Franck's apartment for = a=3D20 while-I read this in one of Chopin's letters. When I read this about 8 = year=3D s=3D20 ago, I couldn't help wonder what influence one composer had over the = other.=3D20=3D =3D20 The outer sections of the Prelude, Fugue and Variation remind me of = Chopin's=3D =3D20 style in some of his nocturnes. The same with the cantilena style of = the=3D20 Fantasy in C. The opening C# minor section of Franck's Symphonic = Variations=3D =3D20 for Piano and Orchestra is very heavily influenced by Chopin. =3D20 I always sense a sadness in Franck's music, even in the glorious moments = a=3D20 melancholy cuts through. Maybe it was because Franck was in an = unhappy=3D20 marriage. There is a touching sentimentality to Franck's music, and I try = to=3D =3D20 bring that across.=3D20   Franck's own style of playing was typical of his day. He played with = liberal=3D =3D20 rubati, perhaps in the way Chopin played-in the cantilene style of = writing,=3D20 the right hand was very free while the left hand was strict. Keep in = mind=3D20 that he also played the Six Pi=3DE9ces privately for Franz Liszt in the = organ=3D20 loft at Saint-Clotilde. Who knows what Liszt might have said that could = als=3D o=3D20 have influenced Franck's own performance style? Even as established = a=3D20 composer and performer as Franck was, surely he may have taken advantage = of=3D20 the moment and asked the world's greatest keyboardist for some technical = and=3D =3D20 interpretive advice. At any rate, I'm sure Franck would have been = completel=3D y=3D20 open to any musical ideas that Liszt might have freely offered.   All of this influences my own performances of Franck's music, whether I = am=3D20 playing the organ or piano works (the latter are also really gorgeous) = or=3D20 conducting the D minor Symphony. In fact, I'm much more influenced by = these=3D =3D20 factors than I am by imitating any organ that the composer may or may = have=3D20 not known (I'm not always in agreement with this school of thought = when=3D20 performing music from the mid-19th century on). Keep in mind also = that=3D20 Franck also much preferred the larger 4 manual CC organ at the Trocadero = wit=3D h=3D20 its TWO expressive divisions-which he used to great effect.   And Jon, something extra I know you will appreciate in light of the = above:=3D20 Franck's and Chopin's initials (CF-FC)!   All best, Alexander Frey   --part1_17c.dc64102.2aa78759_boundary Content-Type: text/html; charset=3D"ISO-8859-1" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2 = FAMILY=3D3D"SANSSERIF" FACE=3D =3D3D"Arial" LANG=3D3D"0">In a message dated 9/4/2002 3:56:45 PM W. Europe = Dayli=3D ght Time, jonathan@jonathanbhall.com writes:<BR> <BR> <BR> <BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT=3D : 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Still, it is nice to observe = th=3D at for the devout Catholic of the late<BR> 19th century, everything happens in threes!&nbsp; The three-fold-ness<BR> (Dreifaltigkeit) of the Chorales could be significant on that level.&nbsp; = I=3D <BR> just don't find a case for this imagery in the music.<BR> <BR> As far as "rushing wind" in the 16th notes, whatever mental images = help<BR> you bring out the music are inherently valid!&nbsp; There is no problem = here=3D <BR> at all--just no way I can find to make an objective case for the<BR> imagery.&nbsp; <BR> <BR> (Lord, you should hear the words I set to the 'Three Dances' to get = the<BR> rhythms right!!)<BR> <BR> Any other thoughts on this??<BR> </BLOCKQUOTE><BR> <BR> I have a thought on this, JB--<BR> It doesn't strike me as overtly Trinitarian, but then again, he wrote = three=3D20=3D chorales, Trois Pi=3DE9ces, and then six other major works for = organ.&nbsp; Th=3D at comes to a total of 12. Each set totaling a multiple of three.&nbsp; = Who=3D20=3D knows? It might have been his own private way of writing Deo = gracias.&nbsp;=3D20=3D I will say this, though: the 3 chorales make a marvelous, profound half of = a=3D program when played together as a set.&nbsp; And considering the endings = of=3D the three (E major=3D3Dloud, B minor=3D3Dsoft, A minor=3D3Dloud), there = is a quas=3D i grand sonata or 3-movement symphony feeling when all are played = together.&=3D nbsp; The passacaglia form of the B minor fits like the slow movement of = the=3D Beethoven 7th Symphony.<BR> <BR> For anyone else who might be interested, I want to share a personal = insight=3D20=3D that I had into Franck's music:&nbsp; Chopin stayed in Franck's apartment = fo=3D r a while-I read this in one of Chopin's letters.&nbsp; When I read this = abo=3D ut 8 years ago, I couldn't help wonder what influence one composer had = over=3D20=3D the other.&nbsp; The outer sections of the Prelude, Fugue and Variation = remi=3D nd me of Chopin's style in some of his nocturnes. The same with the = cantilen=3D a style of the Fantasy in C.&nbsp; The opening C# minor section of = Franck's=3D20=3D Symphonic Variations for Piano and Orchestra is very heavily influenced by = C=3D hopin.&nbsp; <BR> I always sense a sadness in Franck's music, even in the glorious moments a = m=3D elancholy cuts through.&nbsp; Maybe it was because Franck was in an = unhappy=3D20=3D marriage. There is a touching sentimentality to Franck's music, and I try = to=3D bring that across. <BR> <BR> Franck's own style of playing was typical of his day. He played with = liberal=3D <I>rubati, </I>perhaps in the way Chopin played-in the cantilene style of = w=3D riting, the right hand was very free while the left hand was strict.&nbsp; = K=3D eep in mind that he also played the Six Pi=3DE9ces privately for Franz = Liszt i=3D n the organ loft at Saint-Clotilde.&nbsp; Who knows what Liszt might have = sa=3D id that could also have influenced Franck's own performance style?&nbsp; = Eve=3D n as established a composer and performer as Franck was, surely he may = have=3D20=3D taken advantage of the moment and asked the world's greatest keyboardist = for=3D some technical and interpretive advice.&nbsp; At any rate, I'm sure = Franck=3D20=3D would have been completely open to any musical ideas that Liszt might have = f=3D reely offered.<BR> <BR> All of this influences my own performances of Franck's music, whether I am = p=3D laying the organ or piano works (the latter are also really gorgeous) or = con=3D ducting the D minor Symphony.&nbsp; In fact, I'm much more influenced by = the=3D se factors than I am by imitating any organ that the composer may or may hav=3D e not known (I'm not always in agreement with this school of thought when = pe=3D rforming music from the mid-19th century on).&nbsp; Keep in mind also that = F=3D ranck also much preferred the larger 4 manual CC organ at the Trocadero = with=3D its TWO expressive divisions-which he used to great effect.<BR> <BR> And Jon, something extra I know you will appreciate in light of the above: = F=3D ranck's and Chopin's initials (CF-FC)!<BR> <BR> All best,<BR> Alexander Frey<BR> </FONT></HTML> --part1_17c.dc64102.2aa78759_boundary--  
(back) Subject: RE: Franck Choral in A Minor From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Wed, 4 Sep 2002 11:21:40 -0400   AFberlin writes:   >I would be very wary of calling it "Baroque legato touch".   I would, too. Admittedly, the beginning of Franck's A minor chorale bears = a striking resemblance to that of Bach's A minor prelude, and in a modern composer we would assume that there was an influence or deliberate = allusion. However, in Franck's case this could be subconscious or even a mere coincidence.   Franck and his students were not Bach heads at all. They neither knew nor cared much about his organ music. Organ instruction in the Paris Conservatoire was an aspect of harmony and composition, with the emphasis heavily upon improvisation. One of the students reminisced (please don't ask me for the source, it was something I read years ago) about how, in those days, a couple volumes of Bach's "chorales" lay on a shelf where the class met, gathering dust. No one ever opened them.   The grounding in Bach's music came in with Widor's teaching, after = Franck's death, and represented such an abrupt change in emphasis as to amaze the class.      
(back) Subject: John Giacchi to play Rochester Wurlitzer on Sept. 21. From: "Kenneth Evans" <KEvans1@rochester.rr.com> Date: Wed, 4 Sep 2002 13:26:14 -0400   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0011_01C25416.A4674440 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   The Rochester Theater Organ Society is proud to present John Giacchi for = =3D his debut performance on our Wurlitzer 4/22. John will play for us on =3D Saturday, September 21 at 8 PM in the Auditorium Center, 875 East Main =3D Street, Rochester, NY 14605.   This September event features free admission to all as an annual =3D tradition. It is our way to express thanks for the wonderful support we = =3D have received, since our start in 1964, from the Rochester area public =3D and the theater organ world at large. With 2565 seats, there should be = =3D room for all.   Anyone who has heard in person, or second hand, of John Giacchi's superb = =3D talent will want to hear him perform on our wonderful Wurlitzer in the =3D great acoustical environment of our large theater. What a way to =3D celebrate the start of the RTOS 2002/2003 season!   Ken Evans, RTOS, Director (past-President) http://theatreorgans.com/rochestr/=3D20   ------=3D_NextPart_000_0011_01C25416.A4674440 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 6.00.2716.2200" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT face=3D3DArial size=3D3D2>The Rochester Theater Organ Society = is =3D proud to=3D20 present John Giacchi for his debut performance on our Wurlitzer =3D 4/22.&nbsp; John=3D20 will play for us on Saturday, September 21 at 8 PM in the Auditorium =3D Center, 875=3D20 East Main Street, Rochester, NY 14605.</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>This September&nbsp;event features = free =3D admission=3D20 to all as an annual tradition.&nbsp; It is our way to express thanks for = =3D the=3D20 wonderful support we have received, since our start in 1964,&nbsp;from =3D the=3D20 Rochester&nbsp;area public and the theater organ world at large.&nbsp; =3D With 2565=3D20 seats, there should be room for all.</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Anyone who has heard in person, or = =3D second hand, of=3D20 John Giacchi's superb talent will want to hear him perform on our =3D wonderful=3D20 Wurlitzer in&nbsp;the great acoustical environment of&nbsp;our large=3D20 theater.&nbsp; What a way to celebrate the start of the RTOS = 2002/2003=3D20 season!</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Ken Evans, RTOS, Director=3D20 (past-President)</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2><A=3D20 href=3D3D"http://theatreorgans.com/rochestr/">http://theatreorgans.com/roch= =3D estr/</A>=3D20 </FONT></DIV></BODY></HTML>   ------=3D_NextPart_000_0011_01C25416.A4674440--    
(back) Subject: RE: Franck Choral in A Minor From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Wed, 4 Sep 2002 13:49:12 -0400   Alexander Frey writes:   >By the way, the registrations in the Chorale in A minor are not Franck's....I never accepted them intuitively.   (Fonds et anches 8'...)   Glad to hear that, because I didn't, either, but I didn't know that the registrations were editorial. I feel the need a little 16' tone even at = the outset, at least with a large instrument or building, otherwise it sounds thin.   This fact would mean, too, that the trompette for the original statement = of the "chorale" theme is not de rigueur. People have explained and defended this registration by pointing out that the Recit trompette at S. Clothilde was "crisp" and hardly overpowering. As a student, I wanted to register it thus on the grounds of authenticity. My teacher, LaVahn Maesch, = recommended something quieter. Looks as though my argument was actually spurious.   Paul Emmons    
(back) Subject: Re: Redundant organs in UK From: "jon bertschinger" <jonberts@magiccablepc.com> Date: Wed, 04 Sep 2002 13:18:39 -0500   Dear Colin M:       If the U.K. was closer, and there was a bridge, I'm sure more organs would be saved. btw. did you really mean "40 decades"? that would be 400 years. just wondering.   jon bertschinger  
(back) Subject: RE: Redundant organs in UK From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Wed, 4 Sep 2002 14:31:40 -0400   If you are thinking of re-installing British organs in American churches-- unfortunately, differing climatic conditions would militate against the longevity of any instruments so transposed. European builders (the best ones, anyway), must use different woods for organs that they build for = this side of the Atlantic-- right, Malcolm? Because of these different conditions, certain builders such as Marcussen have refused to attempt = this at all.    
(back) Subject: EU organs in USA, etc. From: "jon bertschinger" <jonberts@magiccablepc.com> Date: Wed, 04 Sep 2002 13:54:36 -0500   There happens to be a beautiful Marcussen at U.of K. only a few hours drive from Kansas City. So I sorta question your comment. Frobenius and others have been shipping instruments to the U.S.A. also, not to mention all the builders that use equipment from P&S, Laukhuff, Heuss, and other suppliers in Europe.   That's a pretty broad statement.   Just an observation on my part.     Jon Bertschinger  
(back) Subject: Organ Maintenance, Philadelphia area From: "Shirley" <pnst.shirley@verizon.net> Date: Wed, 04 Sep 2002 16:22:51 -0400     In search of an organ technician for a 3/30, 1960s-era split-chancel M=F6lle= r=20 church organ in a church just outside of Philadelphia.   If you know of anyone in this area, please e-mail=20 saintjohnslutheranchurch@netzero.net directly.   If someone could post this to piporg-l, I would greatly appreciate it. My thanks.   --Shirley=20    
(back) Subject: Re: Franck Choral in A Minor From: <AFberlin3@aol.com> Date: Wed, 4 Sep 2002 17:28:04 EDT     --part1_c8.2c79d187.2aa7d4e4_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 9/4/2002 7:54:04 PM W. Europe Daylight Time, pemmons@wcupa.edu writes:     > Glad to hear that, because I didn't, either, but I didn't know that the > registrations were editorial. I feel the need a little 16' tone even at =   > the > outset, at least with a large instrument or building, otherwise it = sounds > thin. > > This fact would mean, too, that the trompette for the original statement = of > the "chorale" theme is not de rigueur. People have explained and = defended > this registration by pointing out that the Recit trompette at S. = Clothilde > was "crisp" and hardly overpowering. As a student, I wanted to register = it > thus on the grounds of authenticity. My teacher, LaVahn Maesch, > recommended > something quieter. Looks as though my argument was actually spurious.   Forget about the organ at Saint-Clotilde. There were many things that = were unusual about it: buried swell and so forth. It was actually not one of = CC's best. Remember that Franck much preferred the larger organ of the = Trocadero. At any rate, Fortissimo is fortissimo, and should sound as such no matter =   what kind of organ you are playing.   --part1_c8.2c79d187.2aa7d4e4_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">In a message dated 9/4/2002 7:54:04 PM W. Europe = Daylight Time, pemmons@wcupa.edu writes:<BR> <BR> <BR> <BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Glad to hear that, = because I didn't, either, but I didn't know that the<BR> registrations were editorial.&nbsp; I feel the need a little 16' tone even = at the<BR> outset, at least with a large instrument or building, otherwise it = sounds<BR> thin.<BR> <BR> This fact would mean, too, that the trompette for the original statement = of<BR> the "chorale" theme is not de rigueur.&nbsp; People have explained and = defended<BR> this registration by pointing out that the Recit trompette at S. = Clothilde<BR> was "crisp" and hardly overpowering. As a student, I wanted to register = it<BR> thus on the grounds of authenticity.&nbsp; My teacher, LaVahn Maesch, = recommended<BR> something quieter.&nbsp; Looks as though my argument was actually = spurious.</BLOCKQUOTE><BR> <BR> Forget about the organ at Saint-Clotilde.&nbsp; There were many things = that were unusual about it: buried swell and so forth.&nbsp; It was = actually not one of CC's best.&nbsp; Remember that Franck much preferred = the larger organ of the Trocadero.&nbsp; At any rate, Fortissimo is = fortissimo, and should sound as such no matter what kind of organ you are = playing.</FONT></HTML>   --part1_c8.2c79d187.2aa7d4e4_boundary--