PipeChat Digest #4177 - Saturday, December 27, 2003
 
Felix Hell. 2003 retrospect
  by "Felix Hell" <hell-felix@t-online.de>
sorta off-topic: RC liturgical rules and usages
  by <quilisma@cox.net>
RE: copyright laws
  by "Alicia Zeilenga" <azeilenga@theatreorgans.com>
Re: sorta off-topic: RC liturgical rules and usages
  by "chemphill" <chemphill@wi.rr.com>
Re: copyright laws
  by "Alicia Zeilenga" <azeilenga@theatreorgans.com>
 

(back) Subject: Felix Hell. 2003 retrospect From: "Felix Hell" <hell-felix@t-online.de> Date: Sat, 27 Dec 2003 20:37:59 +0100   Dear list members and friends,   I=92m still excited to spend the Christmas holidays at home with my family =   and even my dad is finally getting rid of the stress created by the past few months. I was rummaging Frederick Neuman=92s =93Ornamentation in = Baroque Music=94 and even more fascinating, reading a most interesting book by the =   German author Guenther Jena about Bach=92s Art of the Fugue, or better, what we can learn from the Art of Fugue and how to relate it to lives. And it seems to me that the Art of Fugue is like a school textbook. Suddenly J.S.Bach, the magician of tones, is showing us not only the magic of tones, but with his music the whole magic of all facets of life. I don=92t know whether or not this book is available as an English translation, but the German title is =93Ich lebe mein Leben in wachsenden Ringen=94, which is a quote from a poem of the German poet Rainer Maria Rilke.   All the sudden, here at home in this ambience of reading and thinking - the fragrance of freshly baked cookies and mulled wine filled the house - I found myself on a virtual journey back through 2003. It was quite interesting to remember the past 356 days, in particular when I tried to find out, which events had the most significant impact on me. Frankly speaking, it=92s hard to say. The number of recitals alone makes me feel dizzy: 66 (in words: sixty-six).   My musical beginning of the year on New Years Day has already established itself as a tradition. Already the third time in a row I will start the year with a performance in the chapel of the former Cistercian abbey in Otterberg /Palatinate. The Romanesque style building, 800 years old, equals a cathedral in size and acoustics, with a new three manual tracker built by Goll, Switzerland.   Looking over the 2003-calender, step by step all recitals come back to my mind, including all the opportunities to meet unique and special people and of course all kinds of different instruments. A big jump from the cathedral in the German city of Hildesheim with its large Klais tracker on 12^th of January to Ft. Wayne, Indiana, where I performed in an English Lutheran Church*. *First Church in Hartford, CT, with its restored 1949-Aeolian Skinner, in February. Do all of you remember the big snow storm in February on the east coast? Most people probably didn=92t enjoy it as much as I did, because I was (un)fortunately stranded =   in Jacksonville Beach and Vero Beach in Florida. The result was two days away from school, and poor me I had to simply spend some time at the = beach=85   I fondly remember my second appearance in Schenectady, NY in March, enjoying a great host and wonderful person: Dominick Giaquinto (Thanks, Dominick!). The calendar goes on with Aspen, Colorado. Yes, I had a concert there and it is always a place that I especially look forward to. Everyone is extremely nice, and caring. But, by the way, skiing down Mt. Aspen ain=92t too bad either!   As March went on, I performed in the Benedictine Abbey in Subiaco, Arkansas, wonderfully hosted by listmember Bruce Dersch and his wife Claudia. This was my third performance there, and I hope, that they will be invitations in future. In Three Rivers, Michigan, on March 23, I met another Klais-organ from the early eighties. It was quite interesting, to experience the tonal approach of Klais that times.   The month ended with a revelation: the Andreas-Silbermann-organ in Marmoutier/Alsace. Anybody who has not yet had the opportunity to see, hear and feel this instrument should take every effort to visit this place. The sound is beautiful beyond belief, even sort of unreal, but once you are there, you know it=92s real. Organ building history of nearly =   300 years!   The April calendar shows Old First Church in Springfield, Massachusetts, with its 70-rank Aeolian Skinner behind a lovely facade, and two trips to California: Fresno, and then Redlands University, a place which can be proud to have a stunning newly refurbished 1927 Casavant of its own. In Rochester, MN, I played a brand new Rieger-Kloss. How much I would have loved to spend some more time with Merrill =93Jeff=94 Davis, who is definitively a real cool guy to know!! But Grace Methodist Church in Baltimore was on the schedule only two days later.   May was a very special month. Of course there were Bloomsburg and Allentown, Pennsylvania, with two so different organs and programs. But May special because it was a home game month: my 300^th recital in my home town, with a packed church of 700 people, video screen, etc. They really made me feel, that this was not a concert, but a celebration. Thanks to all my fans at home in Frankenthal, Germany!   A PIPORG-L/PIPECHAT-wedding was on the schedule in June at St. Luke=92s Lutheran at Times Square in NYC, and I was deeply moved to be part of that. Lee and Keith had met each other personally the first time at one of my concerts in Oklahoma City. I felt so honored! Off to St. Joseph, Missouri, where the AGO-Region VI convention took place, precisely organized by Bill McMurray and his team.   Enfield, New Hampshire in July and of course the Kotzschmar in Portland! Gee=85 What a toy! It=92s worth any trip! I probably shouldn=92t have said =   this, since the fee is not what one would consider high. Oops, with this statement, I will probably have to play free of charge on July 6 next year. And the contract is not signed yet. Please Mr. Cornils, in case you read this, keep the fee as it is, and I will play the whole =93Ad Nos=94, and the Reger B-A-C-H =96 it=92s a promise!   It is summer. I felt the heat already in St. Joseph, Missouri. And it was hot in Enfield as well. But the location where the performance took place, the Shakers Museum, was such a pretty and scenic place to be, just right to prepare gradually for one of the most interesting travel and concert experiences you can encounter: Norway, here I come. No wait! There was still one more recital to perform on a 1960-Paul-Ott-tracker in the city of Iserlohn, Germany. As this was my fifth return business in that church, with signed contracts for 2004 and 2005, I probably should not forget to mention this concert.   Anyway, off to Norway from there. During the three weeks my dad and I spent there we were in Oslo, Trondheim, Stjoerdal, Tingvoll, Selbu, Molde, Kristiansund, Bergen. Nice little trackers in 800+ year old churches: Paul Ott, Thorkildsen, Christensen. A brand new Marcussen in a little wooden stave church. Large trackers by Rieger, Groenlund and Ryde & Berg. An awe inspiring, completely restored baroque instrument by Wagner, Berlin, at Nidarosdomen in Trondheim. Wagner was Mendelssohn=92s first organ experience, as he took his first organ lessons on a Wagner, who was renown as the =93Maerkischer Silbermann=94 because of the location =   of his shop in the Mark (translation: march) Brandenburg. And then a contrast which could not be bigger: the huge Steinmeyer with its 127 stops. It is told, that this instrument in Nidarosdomen is the largest one, Steinmeyer ever built. All of that in a gorgeous country with its fjords, rivers, hundreds of waterfalls, mountains, forests, sea sides and fjells. Ten recitals, and 4000 miles by car. It seems like one could reach ultimate boredom when sitting in a car and ship for so long within three weeks, but I enjoyed every day, every hour, every tiny bit of it. And everything was so perfectly organized by Oddbjoern Saboe, the principal cathedral organist in Trondheim, with the help of Kyrre Svarva (btw: listmember on PIPORG-L). If you ever have the opportunity to be in the Trondheim area, contact Kyrre. He is a wonderful and most knowledgeable tourist guide. And Oddbjoern, who had studied organ in Trondheim and in Paris (!), will certainly let you try out the Wagner or the Steinmeyer, or both. Only the schedule will probably unusual: from 1 am to 3 am I would guess. But don=92t worry, if you leave the cathedral at =   3 in the morning, and it is summer, life only begins=85 By the way, if you =   ever will be around Kristiansand (South Norway), don=92t miss to contact listmember Harald Haughland (not to be confused with Kristiansund near Molde!).   Overwhelmed, even drunk, by all the beauty of Norway, Germany waited with four performances in August: Cathedral of Magdeburg, enjoying the hospitality of list member Barry Jordan, and a new three manual Metzler-tracker in Trier, a fine piece of work, but probably too heavily voiced for the relatively small room. I never before had the experience to play a Klais built around 1930. So I found one in the Basilica of St. Wendel, with probably plenty of mixtures, some of them quite high pitched, which reminded me a little of a Schlicker in the Church of Ascension in Chicago. August ended with two more recitals in Germany, one in Kallstadt/Palatinate on a historic organ (1775) from the Palatine organ builder Johann Georg Geib, the other one on a fairly new tracker by Stehle, located in the chapel of an Evangelical order in the Swabian city of Dettingen.   September was an exciting month, not only because of my fourth return invitation to Catonsville/Maryland with its beautiful Casavant in Our Lady of the Angels Church of the Charlestown retirement community, and a return invitation to Topeka/Kansas. On September 12/14 I had my first appearance in the Seattle/Tacoma area, with the thrilling experience performing on the magnum opus of Paul Fritts at Pacific Lutheran University. On top of that, I was part of the festival =93Orgue et Couleurs=94 in Montreal, performing in a excellent partnership in a joined =   recital with Vincent Dubois at Eglise Saint-Nom-de-J=E9sus on one of the most stunning Casavant organs I ever encountered. The 4-manual instrument has about 100 ranks, built 1920 and has been restored/refurbished masterfully only recently by Casavant Freres.   =93Basically Bach=94 at St. Peter=92s in NYC, mostly end of September/beginning of October each year, signals unmistakably, that summer is over. It=92s fall. Sometimes already like winter. Or at least like a typical November. But if you think, =93Basically Bach=94 is a sort = of sad October/November event, matching the rainy-misty-sentiment of this time of the year, you are wrong. For me,=93Basically Bach=94 at Saint Peter=92s Church in Manhattan is on of my musical highlights of the year. Founded in 1993 by Tom Schmidt (about him some more later), =93Basically Bach=94 is a musical weekend at the Eastside of Manhattan, celebrating the =   greatest of the great with organ recitals, oratories, masses, motets, orchestra works, and, as a conclusion a festive worship, in a way and intensity, you have to experience in order to be able to talk about it. I don=92t know, why it was never a real emphasis in all kind of reports or =   reviews either in TAO, the DIASPASON, or this list. That=92s too bad. You have to look at the list of performers during the last 11 years. There were a number of outstanding harpsichordists and pianists, violinists and vocalists, guest choirs and chamber music ensembles. I will not list them all. But you should know all the organist, which the festival had the honor to host. Here they are:   McNeil Robinson, Walter Hilse, John Weaver, Joan Lippincott, David Higgs, Stephen Hamilton, Carol Williams, Paul Jacobs, Martin Jean, Judith Hancock, Christopher Creaghan, Gwendolyn Toth, Gail Archer, Iain Quinn, Philip Scriven, Marvin Mills, Gregory D=92Agostino, Ernst-Erich Stender, Anthony Thurman, Aaron David Miller, George B. Stauffer, Antonius Bittmann,   The evening Festival Concerts have been presented by the Saint Peter=92s Choir and orchestra. There have been performances of 20 cantatas, the Mass in B Minor, the Magnificat, several Brandenburg concertos and Suites, and numerous other works by Bach, Bach=92s relatives, and other baroque composers.   The high points include the live performance of The Art of Fugue by Walter Hilse at the 1995 Festival, which was made into a CD and released by the Berkshire Bach Society. The 2000 Festival featured complete performances of the Goldberg Variations, Art of Fugue, and the B Minor Mass. Walter Hilse has been heard every year of the festival; Joan Lippincott has played four times.   And, yes, before I forget, I feel honored having been part as a performer at Basically Bach four times since my first appearance in 1998. You know what? If you have never seen the program notes (all of which are written by Watson Basler) then you should, because they simply are unequalled. I collect them and use them for my studies. More details about this remarkable venue, year by year in downtown Manhattan, you will find on St. Peter=92s website at www.saintpeters.org. There are, however, a few words about Tom Schmidt that I would like to mention in person. In my eyes, Dr. Thomas Schmidt is one of the most skilled, thoughtful and sensitive musicians I have experienced. And he is most certainly one of the most competent Lutheran liturgical organists I have seen. Again, check out St. Peter=92s website, look for =93Basically = Bach=94 and Tom Schmidt=92s bio. Don=92t look at mine there. I think I should ask Tom to update it slightly   October 5: Taverse City in Michigan, the cherry capital of the world and unfortunately, no fresh cherries this time of the year. October 12: Cullman/Alabama. October 18: St. Mark in Hanover/Pennsylvania. I waited too long to play this, originally Steere, organ again, and try out how the additional ranks, one of them donated by my father, blended. Nicely indeed! October 19: the beautiful Andover tracker at Gettysburg Lutheran Theological Seminary.   If you think October is over, you will be surprised. The calendar shows on October 23 a recital at Methuen Memorial Music Hall. But the week began on Monday, October 20, with setting pistons, practicing, learning, studying and recording for four long days. The project: first stage of a - still ongoing project =96 to record the complete works of Felix Mendelssohn. This week it was all about recording Mendelssohn=92s six sonatas and his three preludes and fugues, and ending with an all Mendelssohn recital. And I was quite moved to see that my former teacher Dr. John Weaver had agreed to come over to Methuen and share his time with me on Mendelssohn. He and I spent a total of seven hours (!) working on the Six Sonatas, and the time just flew by way too quickly. Thank you, Dr. Weaver!   Anyway, the whole project was a challenge. And I did not feel too secure about presenting a recital with works by Mendelssohn only. I did not see any review, neither on this list nor elsewhere, but my feeling was that the audience liked it. Private responses during the following weeks confirmed, that it was worth the experiment.   Finally, you think, October is over now. No, not yet. Friday, October 24, a new tracker organ in Queensbury, NY (Saratoga area), was waiting for a dedicatory recital. You all know already the story from the critics and there were some very harsh reviews about the organ. Honestly, I don=92t share their opinion. Anything can happen any time, with any organ by any builder. There was a cipher at Christ Lutheran Church in Allentown - last year on occasion of the AGO-III-Convention. The ciphering pipe was F# from the trumpet en chamade! And that in the last three lines of the Franck B Minor Chorale. Another time I had to repair a broken tracker on the Klais in Traverse City two hours before the concert. And we had a broken tracker at the Andover in Gettysburg, three hours before the performance. Thank God for Duct tape! We fixed it all on time. I really felt sorry about Harold de Marse, when it seemed, that nearly everything, which can go wrong, went wrong during this performance. The only suggestions I have for Harold, the builder of the organ in Queensbury:   1. Do not set a public performance, in particular, a dedicatory performance, if you are not sure, whether the organ is ready or not.   2. Never tune a mixture only two hours before the recital.   3. If this is your first big project, don=92t make it too complicated or too sophisticated. A system of dual stop action, mechanical and electrical, e.g., can be very capricious, and one can get in deep trouble, if you have a problem, which you are not able to solve on your own, and your subcontractor is not available for troubleshooting.   And, Harold, if you read this, please let me know, whenever the final work on the organ is finished, when everything is tuned and voiced properly, the action is reliable, and I am ready to play another recital there, free of charge!!! And organists, organ afficionados, and the general audience will acknowledge your organ as a fine instrument (O my God, I probably went too far. Accomodation and travel expenses are yours, Harold!)-   It is November already, this sort of dreary month. Therefore I kindly ask for your understanding that I escaped (two weekends in a row) into a different climate: El Paso, Texas, on November 1^st + 2^nd , and Arizona (Phoenix and Green Valley) on November 8^th + 9^th . I understand better now, why so many people, in particular for retirement, settle in Arizona. Especially Green Valley (near Tucson) is a very picturesque and peaceful place to be. For my taste, a few less golf courses wouldn=92t hurt. As you can probably tell, I=92m not a golfer. Sorry about that! I loved it anyway=85   My engagements in Kalamazoo/MI, St. Paul/MN, and Detroit, brought back the November reality again. And even my third attempt, to escape to Colorado as an area of a different climate, was not very successful. It was rather cold in Denver on December 5/6/7. So I could concentrate on the three recitals on the new, 3-manual, Schuke-tracker, at Denver University. There was a discussion on this list about the Schuke organs. The Denver instrument was built by Karl Schuke Berlin. The other Schuke company, Alexander Schuke, is located in Potsdam, Brandenburg. The latter, by the way, will built the new 98 stop tracker of the Magdeburg Cathedral. As to my knowledge, there used to be only one Schuke company, located in Potsdam (East Germany that time). But in the late 50=92s, due to a growing business in the Western =93capitalistic=94 countries, Schuke extended to West-Berlin with an additional shop. Then the wall between East- and West- Germany was built, and the Schukes were separated. Today they are separate companies.   Returning from Denver, I had the impression, that we have indeed December now, that time, which rings in the end of a year. Of course, the semester finals at Curtis had to be prepared, and there was still the expectation of another recital at a great place: Spivey Hall; Morrow/Atlanta, on December 21. But above all I felt the increasing longing, to see my family at home. Yes, the Spivey Hall recital was another wonderful musical experience. But when it came to decide on an encore piece, my audience was probably surprised. I played three stanzas, in different registrations, of =93Silent Night=94. I could not = see my dad, as he was sitting in the left box. I don=92t know about him, but I =   thought that one of the two tears, which dropped on the keyboard, was probably his. Thanks Dad, for being available for me for another year.   That=92s it for the moment. 2003 is nearly over. It=92s 8 pm, and I will = go to practice now. You would like to know where? It is a baroque church, 250 years old, built by the famous architect Balthasar Neumann. The organ there is a tracker, built 1988 by Peter Vier, Germany. It is housed in a historique baroque case, and has 32 ranks. Definitely beats organ practice rooms! This is the organ where I had my first organ lesson in September 1993. And this is the place where I play year after year and hopefully in years to come on New Years Eve my last recital. And we made it a tradition that after the last piece, there is no applause. The doors of the church will be opened, all bells in the tower will ring (there are five), and we all sing:   =93Grosser Gott wir loben dich; Herr, wir preisen deine St=E4rke. Vor dir neigt die Erde sich und bewundert deine Werke. Wie du warst vor aller Zeit, so bleibst du in Ewigkeit.=93   We then all greet each other with wishes for a Happy New Year, before all of us slowly make their way back home.   Our sincere Christmas wishes you all probably received from me and my dad.   These now are our wishes for a HAPPY NEW YEAR   Felix Hell    
(back) Subject: sorta off-topic: RC liturgical rules and usages From: <quilisma@cox.net> Date: Sat, 27 Dec 2003 11:52:13 -0800   Does Authenticam Liturgiam address the discrepancies between the current Missale Romanum (Novus Ordo) in LATIN and the various books (official and not-so-official) published for the English liturgy?   What I'm thinking of primarily is the use (or non-use) of the historic Propers.   The "new" Graduale Romanum (1975) maintains the traditional chants:   Introit Gradual Alleluia Tract Sequence Offertory Communion   while making some accommodation for the three-year lectionary, principally by offering alternative Communions to go with the different Gospels.   The English Altar Sacramentary contains (as I recall) ONLY the Introits and Communions. No mention whatsoever is made of the Offertories.   Virtually ALL the printed RC materials for congregations (missalettes) presume that one will sing   Entrance Hymn Responsorial Psalm Gospel Acclamation ??? at the Offertory Communion Hymn (Recessional Hymn)   There is no provision in the English missalettes for singing the historic lesson chants OR the Offertories. The English SACRAMENTARY provides for the historic Introits and Communions, but I don't think I've EVER seen a collection of musical settings for either, except possibly texts pointed to Tone 8 in a missalette a number of years ago.   Seasonal Psalms in responsorial form ARE to be found in the new Graduale Simplex (there is a version called "Flowing Waters" in English), but the LATIN edition of that book makes the point in the preface that it is for use in places that CANNOT maintain the full round of chants for the = Propers.   Just curious ...   Cheers,   Bud      
(back) Subject: RE: copyright laws From: "Alicia Zeilenga" <azeilenga@theatreorgans.com> Date: Sat, 27 Dec 2003 14:13:07 -0600   Jon,   Just about everything before 1925 is common domain. A lot of times with hymns the words and the tune are common domain but the typeset is not. At my churches we have typed up the hymn and given that to the congregation when we didn't have it in the hymnal to avoid problems.   The following link may help. http://www.cpdl.org/modules.php? op=3Dmodload&name=3DSections&file=3Dindex&req=3Dviewarticle&artid=3D1&page= =3D1#SEC7   I think that it is actually illegal to use an OCP Music Issue unless the church currently subscribes. Does anyone know?   Alicia   > > How long are things covered by copyright? I am just wondering for > things > like hymns and stuff. > > Jon Kroepel > > > "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: sorta off-topic: RC liturgical rules and usages From: "chemphill" <chemphill@wi.rr.com> Date: Sat, 27 Dec 2003 14:17:59 -0600   Hi there. I hope I help. I've been playing and/or directing music in the = RC since 3rd grade. That doesn't make me a liturgical expert, but perhaps I = can share what I know and you can take it from there.   Basically, I hate missalettes and am a big fan of Ritual Song from GIA.   Not the information you seek..Sorry ...momentary rant.   Places for music in the RC MASS are pretty much as you wrote. Here are the places I plug music into.   Opening Hymn or Gathering Hymn for those who like this term. (I am a = rebel.)   The Kyrie or "Lord Have Mercy" can be sung in Latin or English depending upon the likes of the priest and seasons,etc. Most of the time it is said.   The Confiteor (Spelled right?) is never sung anymore.   Gloria is to be sung for every Sunday Liturgy except for Advent and Lent. = It is spoken fairly often at other times due to musical ability or lack of = it.   Psalm: Ritual Song has a version of the Sunday psalm for just about every Sunday. There are also several other resources for finding a musical = setting to the psalm of the Sunday. We also can choose a seasonal psalm to be repeated every Sunday. And there is always any basic psalm tone from the = old days that can be used. What we can't do is sing a psalm-based four part = hymn at this point. They have to be antiphon, verse type. (Oh, I sound so professional.) Always in English. Unless you are from a different part of the world.   Alleluia: Same as the psalm. Refrain, verse, refrain. Many musical = options.   Offertory hymn: (Or the Presentation of Gifts.) Can be four part traditional, contemporary Christian, refrain,verse based, etc. Sometimes this is where the choir sings an anthem. Mass Parts: Holy, Holy (Sanctus), Memorial Acclamation, The Great Amen, The Lamb of God (Agnus Dei). Almost always sung in English. However, occasionally for Advent or Lent we will do Latin versions for the sake of tradition or at least the English versions of old Latin chant masses; i.e, Missa de Corpus Christe found in Ritual Song = with the old Adoramus Te Christe melody as its base. During Communion the choir can sing, or the congregation with the choir. = Or at our church; the choir during Communion and everyone afterwards. Same criteria for hymn choices as at Offertory.   Closing Hymn: Big hymns. Recessional Music: A rarity but should be there. Depends of the music minister.   Now for the official verses the unofficial. At www.archmil.org the archdiocesan website for Milwaukee, there is information regarding current changes to the liturgy. That is official. Also "The Handbook on Music in Worship" and the second in the series which I can't remember are the only official documents from the church on music in liturgy.   This is my opinion on the rest...It is strictly that...opinion and gets accepted as "you have to do it this way" because someone at some meeting says so. It's like the terms "Congregation and Assembly." We are suppose = to use the word "Assembly." I think it is awful to stop using the word "congregation" which means those who have gathered to worship God, and replace it with "Assembly" which means those who meet for a common = purpose. Beats me why the American English dictionary wasn't good enough for the thinkers of that idea back in the 80's. I still call it the offertory and always will. I still have "liturgically" knowledgeable people correct me = on a regular basis. They don't say much after they hear the dictionary definition.   And while I am ranting...Purgatory has never been an "official" teaching = of the church and Never in the Bible is there reference to Mary Magdalene = being a prostitute.   Well, Bud, I am sorry if I wasted your time. As I said, I am not an = expert. But I've learned a little here and there. All I know for sure is this. = When liturgical magazines and articles quit being written on when a presider should look at the congregation and when he should look up to heaven, I = will start taking them seriously.   Tina Hemphill          
(back) Subject: Re: copyright laws From: "Alicia Zeilenga" <azeilenga@theatreorgans.com> Date: Sat, 27 Dec 2003 14:20:47 -0600   Oh, no! What about my poor eyes that find it MUCH easier to read a printed page? And where is the fun in being a choir director if one cannot tell one's choir to WRITE that in the book?!?!?!? Alicia Zeilenga     > > I"M excited about the notebook-size computerized choir folders. If > they're networked, the conductor can make instant changes and > corrections. Music can be inserted and deleted electronically, no muss, > no fuss; there's no great rattling of paper as every singer turns the > page in a quiet moment of a piece, etc. > > Ravenna is introducing computerized music stands this summer ... be > interesting to see how that works out. > > Cheers, > > Bud > > > "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 >