PipeChat Digest #3624 - Thursday, April 24, 2003 RE: For those who remember the "Mighty Wurlitzer" & are near the Chicag by "andrew meagher" <firstname.lastname@example.org> RE: Re: pipe organ and praise band/pipes & the public by "andrew meagher" <email@example.com> Re: Digital organs - and why they don't sound real by "John L. Speller" <firstname.lastname@example.org> Thin Bach and Incomplete Bach by "Colin Mitchell" <email@example.com> FW: Kimball from St. Louis Scottish Rite Cathedral. by "Mark & Cinda Towne" <firstname.lastname@example.org> Re: ArcherGibson: whoozat? by "Mark Gustus" <MGustus@msn.com> Re: communing organists and offertory voluntaries by "STRAIGHT" <STRAIGHT@infoblvd.net>
(back) Subject: RE: For those who remember the "Mighty Wurlitzer" & are near the Chicago area From: "andrew meagher" <email@example.com> Date: Wed, 23 Apr 2003 17:30:05 -0400 Speaking of the dangers fo storing an organ, have any of you heard the = story of the 6 manual organ that was at the old Chicago stadium? When they tore the stadium down they put the organ in storage and the building it was = being stored in burned down and the organ was destroyed. Very sad story. I = heard it on Pipedreams one day. -----Original Message----- From: firstname.lastname@example.org [mailto:email@example.com]On Behalf Of jch Sent: Wednesday, April 23, 2003 12:03 PM To: PipeChat Subject: Re: For those who remember the "Mighty Wurlitzer" & are near the Chicago area At 11:48 AM 4/23/03 -0400, you wrote: >I remember the Oriental Theatre well. > >Why was the organ removed in the first place? >Cheers, >Craig J. The theatre was slated for demolition and for some reason the prospective buyer pulled out fortunately. The organ had been donated to CATOE when the building was scheduled to be torn down and has been in storage ever since...with some detiorationn and theft in the intervening years...Now = the theatre has been restored and is interested in having the organ re-installed. Present project is for total restoration of the organ including replacement of pilfered items and return to the theatre. One of the most dangerous things that can happen to an organ is to be stored somewhere,,, it becomes easily pilfered unless very secure storage is provided and is prone to deterioration as no storage facility is ever as good as a standing organ in a chamber...many organ have been lost in storage to vandalism, deterioration etc, and some cases totally been destroyed when the storage facility had a fire as was the case with the Chicago Stadium Barton. jch "Pipe Up and Be Heard!" PipeChat: A discussion List for pipe/digital organs & related topics HOMEPAGE : http://www.pipechat.org List: mailto:firstname.lastname@example.org Administration: mailto:email@example.com Subscribe/Unsubscribe: mailto:firstname.lastname@example.org
(back) Subject: RE: Re: pipe organ and praise band/pipes & the public From: "andrew meagher" <email@example.com> Date: Wed, 23 Apr 2003 17:31:21 -0400 Amen Kieth! I HATE praise band music! Andrew Meagher -----Original Message----- From: firstname.lastname@example.org [mailto:email@example.com]On Behalf Of D. Keith Morgan Sent: Wednesday, April 23, 2003 12:41 PM To: University of Albany; Pipechat Subject: RE: Re: pipe organ and praise band/pipes & the public The taste of the general congregation members is not as bad as some of the modern "ministers" and praze band leaders think. Eventually, I think that future choir directors and organists will be comprised of people who actually know something about music, and these praze bands will be returned to the beer parlors where they belong. D. Keith Morgan __________________________________________________ Do you Yahoo!? The New Yahoo! Search - Faster. Easier. Bingo http://search.yahoo.com "Pipe Up and Be Heard!" PipeChat: A discussion List for pipe/digital organs & related topics HOMEPAGE : http://www.pipechat.org List: mailto:firstname.lastname@example.org Administration: mailto:email@example.com Subscribe/Unsubscribe: mailto:firstname.lastname@example.org
(back) Subject: Re: Digital organs - and why they don't sound real From: "John L. Speller" <email@example.com> Date: Wed, 23 Apr 2003 19:10:47 -0500 > On 4/22/03 6:24 PM, "Arie Vandenberg" <ArieV@classicorgan.com> wrote: > > > Will they be improved? Yes, but at this point not likely very much, = as > > most purchasers, are more interested in counting keyboards, stops, = than in > > artistic purity, if electronic organs can be said to strive for that. Absolutely. And that's what I as a pipe organ builder am counting on. John Speller
(back) Subject: Thin Bach and Incomplete Bach From: "Colin Mitchell" <firstname.lastname@example.org> Date: Thu, 24 Apr 2003 02:41:41 +0100 (BST) Hello, With great enthusiasm, I re-hashed the fairly awful arrangement of the infamous Sinfonia Cantata movement which I have, and which always sounded "thin" and rather badly written. I was very pleased with the end result, but it did make it much more difficult to play. However, it was just the thing for Easter Day, and I was well pleased with the result.....just shows what a bit of practise can do. Having moved home recently, I have been digging through archives and things. To my surprise, I came across a handwritten manuscript in my own fair hand. It reminded me that, at some point in the past, I began to finish off the unfinished Fantasia in C major. Not wishing to boast or anything, what I had achieved has stood the test of time; but I recall that it was a painfully slow process attempting to be Bach and second guessing his intentions for what is, in reality, a concertante movement....without any clue as to the secondary thematic material. Now, I seem to have done a good enough job of it thus far.......we are at about four pages of small score writing....I write music very small, which saves paper. If I were to get motivated again, would it be worth the effort? I wonder if any of our resident intellectuals might know how many people have "finished" this work, but more importantly, are their efforts any good? If there is a brilliant completion lurking around, there probably wouldn't be a lot of point in completing it, except to satisfy my own ego/vanity/pretentions etc etc. Then I came across an "unfinished" of my own....a rather intriguing "thing-a-mi-bob" based on the plainsong tune we know as "Let all mortal flesh". Somehow, I had worked up enough steam to include some canonic writing and quite a few gorgeous harmonies. Then I came across a very rare COMPLETE opus; most of my work being fragments, such as Dudley Moore kept in a plastic carrier bag. It was actually written for the theatre organist Ena Baga, to whom it is dedicated, and the style is very much pastiche 1940's. She was very pleased with it at the time. Trouble is, I cannot remember what she called it....I haven't found her letter yet! Another fun piece was an arrangement of "Nola", which somehow works in "Ain't she sweet", "Put me amongst the girls" (as if!), "Polly" and a bit of William Walton's "Fascade". Interestingly, "polly" and "Nola" work almost perfectly together as a trio section, which just demonstrates what a strange mind I have. Anyway, I showed it to a famous theatre organist, who narrowed his eyes and said, "Quite unplayable dear!" "Well, I can play it", I replied. "I meant, my dear", he continued, "that no-one would WANT to". Even I grinned at that reply. Regards, Colin Mitchell UK __________________________________________________ Yahoo! Plus For a better Internet experience http://www.yahoo.co.uk/btoffer
(back) Subject: FW: Kimball from St. Louis Scottish Rite Cathedral. From: "Mark & Cinda Towne" <email@example.com> Date: Wed, 23 Apr 2003 20:32:39 -0700 Greetings list members: It is a sad but all to common occurrance within the various orders of the Masonic fraternity that many instruments that once graced and proudly accompanied the ceremonies and rituals are slowly being put up for sale, = and in some cases, being abandoned within their chambers to suffer decay and neglect. Some institutions cannot afford to maintain them any longer. Natural attrition is partly to blame, with not enough members to replace them. = This dwindling amount of "new blood" also does not, for the most part, include people that are proficient in the instrument. Most often, a well-meaning member will step in at the piano or the electronic substitute to provide = the "traveling" music for the ceremonies. Other cases include what I will describe as willful destruction: The Masonic Lodge in California that I am a life member of had a 9-rank Welte organ with a perfectly intact and working player mechanism. Becuase of the height of the console, the organist at the time could not see over or = around it from the balcony to get his cues and monitor the motions within the = room. The top portion that contained the player mechanism was cleanly sawed off and discarded leaving only the remaining stop tabs and keyboards. The instrument has since been removed and restored by a local organist and installed in his home. At least most institutions will attempt to find a new home for their unwanted instruments. Thank you to the City of Chicago for it's adoption = of the Medinah Shrine Temple Austin; Thank you to my Masonic Brethren in St. Louis for their considerate placement of the Kimball at the Organ Ckearing House. Some Masonic groups (Detroit comes to mind) are thriving and maintain = their instruments. Hopefully the tide will turn and Masonry will revive...but I do not hold my breath. Regards to all. Mark S. Towne Editor of "The Desert Wind" Newsletter of the Southern Nevada Chapter American Guild of Organists P.S. I wish that I had 60K to buy the Kimball for here in Vegas, but...
(back) Subject: Re: ArcherGibson: whoozat? From: "Mark Gustus" <MGustus@msn.com> Date: Wed, 23 Apr 2003 23:11:07 -0500 Since William H. Barnes didn't copyright his little book "My Recollections of Church Musicians," I'll quote his reminiscence of Archer Gibson (1882-1952) in full: Archer Gibson was a well-trained and talented organist in a number of churches in New York before he became the private organist for a number of very wealthy clients, who had Aeolian organs in their homes and were = unable to play them without an automatic player of [sic] a professional organist. Mr. Gibson filled the bill for both purposes. He played for the Schwabs, the Rockefellers, and other rich men, and produced automatic records = that these men could insert in their Aeolian players and hear what Mr. Gibson = had transferred of his playing to a paper roll. I met Mr. Gibson first at the Aeolian Organ Studios in New York. I had = made three recordings for the Aeolian Company some months previously and had stepped in to hear how they had come out. I was told that the rolls were ready but that Mr. Archer Gibson was in the studio going over some of his recordings. I said I would like to meet him, and when I went into the studio to do so, Mr. Gibson asked me, "Barnes, I have read about you in the "Diapason." Where did you study the organ?" I told him I had studied with Clarence Dickenson in Chicago, before he came to New York. He said, "Yes, Dr. Dickenson took my job at the Brick Presbyterian Church after I got my second divorce. He is a virtuous organist - I am a virtuoso organist." After this introduction, we became good friends, and he invited me out = to his home, a penthouse on the roof of some big apartment in upper Manhattan. I think it was on Riverside Drive. Here we had dinner, after which he played for me on his good-sized = Aeolian. He played Bach, which he said he loved most; but that he didn't dare to play much for his wealthy patrons as they didn't like it. "Charles Schwab told me," said Mr. Gibson, '"Gibby, I don't think an instrument like the organ should be worried with that kind of music being played on it.'" Mr. Gibson didn't like Cesar Franck. He says, "I can improvise better music than he wrote." I said, "You had better start putting it down on paper." We had quite an evening together, and I was quite stimulated by the force and charm of his personality and I could see why he was so popular with = his rich clients and with his recordings. Incidentally, there was every evidence that some of his clients had given him some good tips on the = stock market, as his penthouse gave assurance of his solvency. I am satisfied that his clients wished to be entertained rather than be educated musically, and he did this better probably than any other = organist of his generation - quite a character. ----- Original Message ----- From: MARAUDER To: pipechat ; piporg-l ; organchat Sent: Wednesday, April 23, 2003 3:53 PM Subject: ArcherGibson: whoozat? Help! Relatively standard references at hand do not include comment = about Archer Gibson, whose organ setting of the "Liebstod" from Tristan und = Isolde (NY: G. Schirmer, 1902) I am about to play in another 12 days. Any info would be appreciated. Karl E. Moyer Lancaster PA
(back) Subject: Re: communing organists and offertory voluntaries From: "STRAIGHT" <STRAIGHT@infoblvd.net> Date: Thu, 24 Apr 2003 00:42:31 -0400 Um, apparently the various Protestant churches I'm familiar with use a quite different arrangement. Communion is taken to the congregation, the trays of separate pieces = of bread (or wafers) are passed to each side of the aisle by the ordained Elders. They return to the front, replace the trays and are served by the Pastor. Then one serves the Pastor and all commune at once. Repeat with the juice. I've never been to a church that served wine. Yes, I've been to quite a few churches in my life. Organ console is at one side of the front, one of the servers leaves = me a piece on the first trip and a cup on the second round. I play meaningful meditation music -----Let Us Break Bread Together, Bread of the World in Mercy Broken, etc. There's a whole series right = there together in the hymnal. When everyone is ready I end it off and stop. Pastor says his or her thing and all commune at once. Resume playing for the liquid, repeat. Offertory of money is not part of this. That comes earlier in the service, and the choir sings something special. I used to play for it, still do in most other churches. That's what a "voluntary" is for. And since choir goes down for the sermon, they're sitting in the front pews on one side, so it all flows well. It's usually about the last thing in the service and we sing "Blest Be the Tie That Binds" as an ending. Diane S.----where it's snowing in western NYS