PipeChat Digest #3910 - Thursday, August 28, 2003
organist needing updating
  by "david WOODS" <david@galbraith-woods.freeserve.co.uk>
Re: organist needing updating
  by "chemphill" <chemphill@wi.rr.com>
Re: the problems of choice
  by "John Foss" <harfo32@yahoo.co.uk>
Re: The Big One
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Re: 16' bourdon
  by "Bruce Miles" <bruce@gbmuk.fsnet.co.uk>
OHS 2003 - 4th Full Day - 6/23
  by "Malcolm Wechsler" <manderusa@earthlink.net>

(back) Subject: organist needing updating From: "david WOODS" <david@galbraith-woods.freeserve.co.uk> Date: Thu, 28 Aug 2003 10:16:38 +0100   I'm looking for some advice.=20   I am a music teacher (UK) and I have just taken on for the first time = four pupils for organ.=20   I see that the 'Graded Anthology' compiled by Anne Marsden Thomas = figures very prominently on the Associated Board syllabus for several = exams.   Ms Thomas does not give fingerings or footings, but she does give = extensive performance notes which refer back to her introductory volume = "A Practical Guide to Playing the Organ".   When looked myself I was stunned to read instructions which are more or = less the opposite of what I was taught years ago (my last teacher was = Harry Gabb of St Paul's Cathedral). So my question to my colleagues is: = is this the new Orthodoxy or is Ms Thomas just a one-off?=20   If her ideas represent the present-day consensus of teaching and = playing, then I need to know. My pupils will have to face future = examiners or adjudicators. Here are some of her instructions on = pedalling:=20   =20   1.. Keep your knees together at all times, tying them with a scarf if = you find it hard to remember. 2.. 'Find' notes by having memorised the angle of your (lower) legs = that makes a 2nd, 3rd, 4th, 5th, 6th, 7th, 8ve [keeping your knees = together] 3.. Expect to use only toes in music before 1800. 4.. Only use heels when legato playing makes impossible demands on = your toes. =20   Since I haven't read a "how to do it" book for many years I don't know = whether these instructions have become today's generally-accepted = wisdom. Can somebody who's up-to-date please tell me ?   Regards   David Woods (UK)     --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.509 / Virus Database: 306 - Release Date: 12/08/03    
(back) Subject: Re: organist needing updating From: "chemphill" <chemphill@wi.rr.com> Date: Thu, 28 Aug 2003 04:32:02 -0500   I'm baffled. That is not the way I was taught, either. Years ago when I = did my organ boards for college, the body mechanics I used wasn't = judged. It was my interpretation and mastery of the piece assigned to = me. The posture recommended by my teacher was sitting straight on the = edge of the bench, knees close together, and turn hips in direction of = notes as needed for reach, but keep upper torso straight. To play with toes only on anything suggests to me an organ technique = used on 8 pedal electric organs. Tina Hemphill Wisconsin=20    
(back) Subject: Re: the problems of choice From: "John Foss" <harfo32@yahoo.co.uk> Date: Thu, 28 Aug 2003 11:54:30 +0100 (BST)   It's very simple - problems start in life as soon as you have two shirts! John Foss   dale in florida wrote "I asked earlier why on a Somme organs 1 16' is enough but when you have multiple 16' stops you often cannot find just the correct one?"       =3D=3D=3D=3D=3D www.johnfoss.gr http://groups.yahoo.com/group/orgofftop/ Topics of the week : Scrimbleshanks in territorial dispute Playing the piano in public   ________________________________________________________________________ Want to chat instantly with your online friends? Get the FREE Yahoo! Messenger http://uk.messenger.yahoo.com/  
(back) Subject: Re: The Big One From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Thu, 28 Aug 2003 04:05:33 -0700 (PDT)   Hello,   I always loved that cartoon I once saw of the console at Atlantic City, with a small organist sitting at it asking,   "Exactly WHERE is the Choir Dulciana?"   Regards,   Colin Mitchell UK     --- BlueeyedBear@aol.com wrote: > In a message dated 8/27/2003 7:06:21 PM Eastern > Daylight Time, Bigaquarium@netzero.net writes: > > > I remember reading something that noted that the > Atlantic City organ comes to us without any tonal > change or revision... What on earth could one > possibly add to it? <     __________________________________ Do you Yahoo!? Yahoo! SiteBuilder - Free, easy-to-use web site design software http://sitebuilder.yahoo.com  
(back) Subject: Re: 16' bourdon From: "Bruce Miles" <bruce@gbmuk.fsnet.co.uk> Date: Thu, 28 Aug 2003 12:18:36 +0100   John et al,   This is all very interesting, but I wonder if most of the 'resonance effect' occurs in the listeners brain. One's hearing can and does 'infer' = a fundamental from its components when there is no fundamental present. When some fundamental is present the effect must be to reinforce it.   I would be revealing to actually measure the level of Bourdon fundamental present with and without 'things coupled to it'.   I have had a good listen to the effect of coupling things to a pedal = Bourdon on one of my virtual organs and it certainly sounds more assertive coupled than when alone. This seems to indicate that at least some of the effect = is perceived rather than actually present in the sound of the organ.   Thinks - - -   Cheers,   Bruce Miles   website - http://www.gbmuk.fsnet.co.uk/index.html   ----- Original Message ----- From: "John L. Speller" <jlspeller@mindspring.com> To: "PipeChat" <pipechat@pipechat.org> Sent: Wednesday, August 27, 2003 1:51 AM Subject: Re: 16' bourdon     > It is important to remember a scientific phenomenon known as = "resonance." > There is a lot to be said on a small organ for a fairly large-scale Bourdon > rather lightly winded. With soft combinations this produces a nice soft > Bourdon sound. With a lot of stuff coupled from the manuals, however, = the > pipe starts to resonate in sympathy with what is coupled to it, and = grows > considerably in power, becoming something akin to a fairly large-scale > Bourdon that is more heavily winded.    
(back) Subject: OHS 2003 - 4th Full Day - 6/23 From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Thu, 28 Aug 2003 07:41:00 -0400   OHS 2003 - 4th Full Day - 6/23   THOMAS LEE BAILEY, St. Paul's United Church of Christ, New Schaefferstown, PA, Monday, June 23, 2003   Let it be known by all that this day began with the earliest morning bus departure of the convention - 7:45! If I write something ill-natured along the way, you will understand why, I hope.   I don't recall Thomas Lee Bailey playing at an OHS Convention before. I do hope he does again. He is Organist and Choirmaster of St. Paul's Episcopal Church, Carroll Gardens, Brooklyn, NY, whence I have noted a recent = upswing in recital activity in reading TAO announcements. He holds a Bachelor's Degree from Virginia Commonwealth University, and a Master of Divinity (!) from Virginia Theological Seminary. He's done lots more than that, but = space prevents. His performance testified to his "credentials" amply.   The Organ is by Samuel Bohler, and is now 110 years old! It was built for Zion Union Church, Womelsdorf, PA, and in 1950, was moved to St. Paul's, with some repairs, by Justus Becker. Just this year, it was restored, with also a recreation of the original reservoir and wind trunks, by R. J. Brunner & Company. There are 12 stops, with the Pedal containing only a = 16' Sub Bass.   The program began with <Scherzo in Sol Minore per Organo,> Marco Enrico Bossi. A real charmer, which would have been rendered far less charming by = a very persistent cipher on a G, where it not for the work of David Storey, who hovered close behind, ready to lift the offending note immediately. He worked hard in this piece, since it was in a key rich in Gs, and moved = quite fast at times.   Next, Prelude in E Flat Minor, Vincent D'Indy, another rapid work, deftly handled. The fine Swell Oboe made a successful appearance.   Humoresque from <L'Organo Primitivo> (Toccatina), Pietro Yon. Played well, this piece has great charm, encased in a serving of corn. This performance was clean and cheerful, enjoyed by all.   The Hymn, "O Master let me walk with Thee," tune "de Tar," by Calvin Hampton. It is quite possible that the tune bewildered the congregation members present, who are used to something rather different, but our gang did it well, even though we were only half of the convention, with the = rest coming for the second show at 3:30. I think by the last stanza, the congregation members might have been almost with us. The melody is a fine one, by a master of melody, with an accompaniment that is of more than marginal importance. Named in honor of my late teacher, it has a special place with me.   Andante with Variations (posthumous), Mendelssohn. I overheard the = following nearby: "What does posthumous (accent on the second syllable!) mean? - It means, after his death. - Oh, wait just a moment. How can someone write something after they are dead?" In any case, living or dead, this was a quiet and lovely presence in this fine concert. In my Novello edition of = the Berlin-Krakov Manuscripts, there is an Andante in D with Variations. = Perhaps this was the one. At this remove, the sounds of what was played that day = are no longer with me.   Roulade, Seth Bingham. There are some players out there keeping this work, and the name of the long-lived Bingham (1882-1972) alive. I know Ken = Cowan, whom we will hear later in this week, is another who plays this totally charming work. It's a bit of a finger breaker, but well worth the effort, and is a consistent crowd-pleaser as well. Go for it if you dare!   This was a splendid recital. I must get me to St. Paul's, Carroll Gardens sometime this next season. Going to Brooklyn from up here is like a trip = to the moon, but I can manage.   ROSALIND MOHNSEN - Monday, June 21, 2003 Old Belleman's Church, Mohrville, PA   I have always looked forward to Rosalind Mohnsen's performances at OHS, = and recall a whole string of them over the years. Now I know why. Her = biography in the Organ Handbook mentions that this was her 17th appearance at an OHS convention! She holds degrees from the University of Nebraska, and University of Indiana. She later studied with Jean Langlais in Paris. She = is director of Music at Immaculate Conception Church in Malden, MA.   The Organ, of a single manual and 13 note Pedal board, surmised to be of = the 1870s, is also surmised to be the work of Samuel Bohler, and Ray Brunner gives cogent reasons for making this assumption. The disposition is interesting. The manual compass is 54 notes, and the four 8' stops share a common bass, each thus having 37 pipes of its own. All 8': Open Diapason, Clarabella, Dulciana, and Stopped Diapason. One then draws the Stopped Diapason Bass, with its 17 pipes, to provide the lower octave and a bit. There is also a 4' Principal, a Twelfth, and a Fifteenth. The Pedal has a stop at 16' simply called "Pedal Bass," with 13 pipes. There is also a = Pedal Coupler. This handsome church is no longer in regular weekly use, but = holds four annual services, and is also used for many weddings. We were given a very amusing talk about it by good, elderly, chap from the congregation. = He was a sketch-and-a-half!   In this lovely program of ten pieces, I only knew two. There were five composers of whom I had never heard any music. I present this as a virtue, as none of the music was dull, or less than convincingly played. The = program began with an unknown, a Concerto in G, three movements, by Christoph Wolfgang Druckenmueller, listed as from "Das Husumer Orgelbuch." You = deserve here the benefit of Ms. Mohnsen's notes:   "The Husum Organ Book was assembled in 1758 by Bendrix Friedrich Zink, a town musician in Husum, and later the Organist of Schleswig Cathedral. The collection shows: 1. The development of North German Organ music in the = 18th century, in the generations after Buxtehude and Boehm. 2. Music associated with the rural regions of North Germany. 3. Concertos that are original compositions for unaccompanied Organ."   The Druckenmueller Concerto, Allegro, Adagio, and Allegro, offered no surprises, but was extremely pleasant.   Next, a very sweet Prealudium from Three Character Pieces, Opus 64, Number 1, by Rudolf Bibl (1832-1902). John Henderson shows this Opus as Six Character Pieces, and mentions that Number 5 of the set, Vision, was very popular at the turn of the century, at least in the U.K. This all sounds worth looking into, published by Novello and Schott.   Next we heard a selection of five quite varied Chorale Preludes, all of which managed to sound quite fine on this little instrument:   1. J. S. Bach, from the Neumeister Collection: Jesu, meine Freude 2. Johann Christoph Oley (1738-1789): Wo Gott der Herr nicht bey uns haelt 3. Sigfrid Karg Elert (1877-1933) - Liebster Jesu, wir sind hier, Opus 78. 4. Gerhard Krapf (b. 1974) - Herzlich tut mich erfreuen (alla Giga) - Well worth seeking out. 5. Friedrich Wilhelm Marpurg (1718-1795) - Ein' feste Burg - something of = a charming gallop on "full Organ!" I certainly intend to track down some of the above. I think this was a collection of Chorale Preludes even Bruce might have enjoyed!   The Hymn was a bit different! We sang "What a friend we have in Jesus" to the familiar tune, but in "Pennsylvania Dutch," or German, perhaps we = should say. We had the words and knew the tune, so off we went in glorious = unison, stumbling over the words a bit, I have to say. <Je mer hen en Freind im Yesus>   Next, a Fugue in 3 Voices, by Charles Zeuner (1795-1857) -What a fugue subject! From the notes: "Charles Zuener, a native of Saxony, came to = Boston in 1824, and to Philadelphia in 1854."   J. Frank Donohoe (1856-1925) - Impromptu - From the notes: "J. Frank = Donahoe became Cathedral Organist in Boston at the age of eighteen, and played at the dedication of the new edifice one year later in 1875." I am guessing = we are speaking of Holy Cross, the R. C. Cathedral, which looks more the part of 1875 than does St. Paul's, the Episcopal Cathedral. In the Organ Handbook, Donahoe is spelled with the second vowel as an O, but both Ms. Mohnsen's notes and John Henderson show it as Donahoe.   The program ended with Open Diapason March (1879), by Louis Meyer. There seem to be no dates for him, but he is assumed to be 19th Century. This piece was published in Philadelphia - again, no date. In three words, the piece is corny but effective. It made a fun ending to a most interesting = and rewarding recital.   WALTER KRUEGER - Monday, June 23rd, 2003 Christ Little Tulpehocken United Church of Christ   While waiting for Dr. Krueger to begin his recital, we were edified by an attendance board prominently displayed:   Attendance today 31 Offering $39.40 [Slightly better than a dollar per person!] Attendance last week 32 Attendance one year ago 26 Enrolment 50   Walter Krueger holds a Doctorate from Northwestern University. He teaches music at Portland (OR) Lutheran School, is an adjunct professor at = Concordia University in Portland, and is Director of Music at Trinity Lutheran = Church, Portland.   The instrument of the day, in a high gallery over us, was built in 1862 by Joel Kantner, and while that is all that is known, there are many = mysteries about this Organ. It looks in several ways to be an English instrument, = and as the Organ Handbook notes point out, and as many noticed early on, in certain ways, it can sound a bit like something out of 1962! There is lots of articulation, and the 4' Principal is louder than the 8', for starters. The tone is, however, gentle and singing, not always a 1962 = characteristic. There are eight stops on its single manual, built, fortunately, on an 8' Open Diapason, ending with a 12th and 15th. The is NO Pedal.   For the perfect beginning, a lovely Toccata in the Aeolian Mode, by Sweelinck, short and very sweet.   The Organ begged for the relaxed rubato sought after by Frescobaldi, and a Toccata for the Elevation (Fiori Musicali) gently and sweetly obliged, = with some help from Dr. Kreuger.   Francois Couperin: Fugue on the Trumpet (2nd Couplet of the Kyrie), I = guess from the Mass for the Convents, although, at this remove, I have forgotten which we heard. It was all done without benefit of a Trumpet!   La Romanesca with Five Variations, by Antonio Valente (1520-1580) Valenti was a blind Organist from near Naples. This was a perfect performance of what is surely a perfect piece for this Organ, or at least for = demonstrating it. Variations, in their variety(!), help us to see the instrument in several guises.   Moving light years on, stylistically, to the 24 Pieces in Free Style of Louis Vierne, and the lovely Berceuse, No. 19, a Romantic piece that = worked perfectly well on this elegant old instrument.   More elegance followed, but this time, in two modern works by Hugo Distler (1908-1942). Distler was sadly lost to us too early, having died at his = own hand, rather than fight in the German army during the 2nd War. From Thirty Pieces for Small Organ, we heard No. 3, <Gehende> which would, I think, be close to <Andante,> and No. 2, Schnelle, quick. Every experience I have = had with Distler's music, both Organ and Choral, has caused me to thirst for more. These two pieces were lively and fine compositions, all very tidily played.   The program ended with an attempt to meld a Johann Gottfried Walther = Partita with the hymn (chorale) we were to sing. The partita was splendid - the melding process did not work too well, as in each of the three stanzas we were to sing (Jesu, meine Freude, Bach harmonization), we were really left uncertain about where to begin. The whole process began with Dr. Kreuger playing the Chorale, as Walther harmonized it. Then we sang stanza 1. The second part of the Partita was played on 4' stops alone, the third on just Flutes. Then we sang stanza 2. The Partita continued with part four, in sixteenth notes (or in semiquavers, as the program pretentiously had it). Part five was on the softest stops in the Organ, and part six was on two manuals. At this point, we sang stanza three of the chorale, followed by part seven of the Partita, on "full Organ," an apt ending for a most pleasant concert.   DR. SALLY CHERRINGTON BEGGS - Monday, June 23rd North Heidelberg U.C.C. Church, Robesonia, PA   Upon entering this church, one was immediately plunged into a mood of serenity and expectancy. Something lovely had to happen in this place, and it did, beginning with the visual impact of the late afternoon sun highlighting the gold in the stenciled Organ case. Then, the loveliness continued with Sally Beggs's playing with complete understanding of the absolutely gentle and beautiful qualities of the 1892 single manual (and Pedal) Organ by Samuel Bohler. She played right on the wind, and allowed = the Organ to be heard projecting clearly and without stress.   In honor of the fact that this church began life as a Moravian = congregation, we first heard, from Nine Preludes for Organ of Christian Latrobe (1758-1836), Preludes 2 and 3. This is lovely music, the first Prelude gentle, the second also gentle but with the 8' Open Diapason, an = incredibly sweet sound.   We managed to stay seated during Variations on God Save the King, of = Charles Wesley (1757-1834). Charles was the keyboard virtuoso of the famous Wesley family, and was among the first Organists at the Church of St. Marylebone, where he spent his final years. Stainer wrote "The Crucifixion" for the church's choir. The church is known now amongst Organists for its handsome Rieger Organ of 1987, and for its proximity to and connections with the Royal Academy of Music. Some of Wesley's variations are very intricate and virtuosic indeed, music designated for Organ or Harpsichord. All were here played with complete assurance and panache.   I recall as a student seeing a score of Beethoven works for Organ, and = being amazed, not having realized that there was any such thing. I was told then that their interest lay mainly in the fact of their existence. The music = is actually far more significant than that, reminiscent of the mature Beethoven, and we heard this day an Adagio and Scherzo (for mechanical Organ) written in 1799, well and stylishly played.   "Mozart Changes" of Zsolt Gardonyi is a totally clever piece, and fun to boot. Gardonyi is Hungarian by birth but has taught for many years in Bavaria. According to Dr. Beggs's excellent notes, this piece was written for a 1995 Oklahoma Mozart Festival, where it should have created a happy stir. It is based on Mozart's last Piano Sonata, in D Major (K 572) but with, well, changes.   Dr. Beggs had been served during this recital by a quiet and efficient = page turner and stop puller. He (Dr. Stuart Weber) now became soloist, playing = a Native American Flute in a chorale prelude by Emma Lou Diemer, based on = the Native American tune, Lacquiparle. This can be found with its text, "Many and Great, O God are Thy Things" in the 1982 Episcopal Hymnal at number = 385. I suspect it is in other hymnals as well. This chorale prelude is a simple but wonderfully atmospheric piece, and Dr. Beggs chose it in recognition = of the close relationship between the Native Americans and Moravian leaders.   Last on the program, a solid and exciting performance of the Schumann = Sketch No. 3 in F Minor.   And then, it was time for a sweet and simple Moravian Hymn, "Jesus makes = my heart rejoice." Dr. Beggs studied for a time with the late Robert Elmore, who, at one time, was Organist at Central Moravian Church in Bethlehem, Pennsylvania. She used some of his chorale prelude on this tune, first as = an introduction, and then as a varied harmonization of the final verse. It = was perfect, as was the entire recital. Thank you, Dr. Beggs; thank you, OHS.   Following this recital, we hopped on the buses for about an hour's ride to Annville, the home of Lebanon Valley College, which was the provider of a very nice dinner in the college dining hall. Many of us managed to get = over to the chapel, and some managed to get the Schantz wound up and going. It lacked the historicity needed for us to notice it, but I am glad we got a chance to visit the chapel and Organ nonetheless. After dinner, it was = back on the buses, heading for Hershey, and the Hershey Theater.   MATTHEW GLANDORF, Hershey Theater, Hershey, PA Monday, June 23, 2003   Matthew Glandorf grew up in Germany, and at 16, entered the Curtis = Institute in Philadelphia, studying with John Weaver and Ford Lallerstedt. He presently teaches at both Curtis and Westminster Choir College.   Some disjointed evening. We were in a rather opulent theater with a 1932 Skinner Organ, probably unlike any other, full of brassiness and with a killer Pedal division. Harrison's name is on the console, but it would = seem that Skinner was actually responsible for the job, but under the thumb of Hershey's consultant, Dr. Harry Sykes, of Lancaster, who probably has a = lot to answer for. Certainly, what we heard this evening would not have = pleased G.D.H., and possibly not E.M.S. either! Matthew Glandorf was given the assignment of playing this recital, and I am not sure what his brief was, = if there was any. What he chose to do was a mixture of a bit of Organ music, several transcriptions, and one very impressive improvisation. It was the improvisation that I thought was the most successful. I have forgotten to mention that the room has the deadness of any large theater, with carpets and plush seats.   We first heard Sonata Eroica of Joseph Jongen, a pretty impressive romp = for any Organist. I found it unsatisfactory on this instrument, given the over-brassy quality of the sound, which seemed to clash within itself. It was harsh and confused - and confusing to the ear, or at least, my ear. = None of the fault belongs to the Organist, other than that he could have been a bit less decibel-ambitious, which might have given us a bit more clarity = for the music, and still left in plenty of sonic excitement.   Glandorf's own transcription of the Rachmininoff Vocalise seemed to work quite well. It was an island of tranquility, and, I think, the sort of = piece that survives transcription relatively untarnished. From then on, all Hell broke loose. Let it be known that I do not hate or even mildly dislike Theatre Organs. I have had the Dickinson High School (Delaware) = experience, and truly loved it. I have been to the Thomaston Opera House with our = P.O.E. group in Connecticut a year ago, where Tom Trenney played to us. It was glorious, and impressed us all, not least, the young students in our = charge. But Theatre Organ music or pop music in general is different. It usually leaves breathing space in its music, so that the power of the instrument does not assault one. On to two more transcriptions of Rachmaninoff works, the first done by Mr. Glandorf himself, of the famous C Sharp Minor Prelude. I played this with remarkable passion as a high school student, and this is the first time I have heard it since then! It, and the transcription that followed, made me long for a splendid Steinway Concert Grand to take the place of the Organ. Does a transcription diminish or enrich a work? Is the original conception of the composer perhaps the best one? In the present case, I think I would go for the original. And again, I guess, with Full Organ engaged most of = the time, much of the detail in the piece became muddled. For me, it was not a pleasant experience. We went on to the Prelude in G Minor, transcribed by "G. Federlein," which could be either father (Gottlieb) or the son (Gottfried) who was Organist at Temple Emmanuel in New York for many = years. They both plied the Organist trade. When it was over, I still longed for that Steinway, and in the Wagner transcription which followed, the Liebestod, transcribed by Lemare with some Glandorf additions, I wanted a full symphony orchestra to emerge on stage. The urge to transcribe has a different purpose today than it did when Lemare and one of the Federleins did it. The consumer of live music got most of his orchestral literature quotient by going to the big Town Hall with a large Pipe Organ to hear the symphonies of Beethoven, and the works of Wagner. Organ concert programs = of the period show this. Today, the motives are mixed. Mainly, I presume it = is simply in the delight of being able to play on the behemoth that the Organ can be, favorite orchestral works. Felix Aprahamian, who was basically rather luke warm about transcriptions to the Organ, always felt that the question had to be asked: "Will the transcription improve the work or diminish it?" I think just about all the transcriptions we heard this evening were in the latter category, but, in fairness, partly because of = the Organ for which the program was chosen. This is not an indictment of the Organ, but rather suggests that great care needs to be taken in choosing a program, and also registering it. At the well-known and loved Dickinson = High School Organ, I had the feeling that I would love to hear (and play) my favorite bits of the Organ repertoire on it, despite the fact that this is = a Theatre Organ, and no mistake about it.   Anyway, on to a brilliant performance of the Dupre Allegro Deciso, the = third part of the symphonic poem, Evocation, of 1941. And then, on to, what for me, was the very most pleasurable part of the evening, Mr. Glandorf's towering improvisation on The Star Spangled Banner. I have to tell that before this began, he had to turn to the audience and say, "What does the program say I am playing next?" What it said was: "Symphonic Improvisation on 'The Star Spangled Banner' (in the style of Max Reger)," words which, I presume, came from Mr. Glandorf himself, as the book was getting ready to = go to print. Anyway, I guess he then clicked on "Reger" and "The Star Bangled Spanner," in his mind, and what came out was not particularly Reger, but = it was very brilliant and exciting, with great flashes of fragments of the eponymous national anthem. Someone commented to me after that "He = certainly has played that before," suggesting that the whole thing was not improvisation but a practiced piece. No great improviser I know does not have in the briefcase of his or her mind certain tricks of the trade, certain "riffs," if you like, that are useful to the art. Why not? "They" said the same about Cochereau, and it was true, but we were pretty much on the edge of our seats when he improvised. Matt Glandorf did this brilliantly, and I will happily hear him improvise again - and again. For the "hymn of the day," we then sang, of course, the National Anthem, quite lustily, and then, it was on the busses for the Crowne Plaza, our home = away from home.   Thus ended the fourth full day of OHS Convention, 2003. It was back to the buses, and to the hotel and the exhibit hall and its most fabulous Organ = and music collection for sale.