PipeChat Digest #3435 - Thursday, February 6, 2003
 
Re: TRINITY CHURCH, WALL STREET ...  TRUE MOTIVES ?????
  by "Mattcinnj" <mattcinnj@yahoo.com>
Recital Information
  by "mack02445" <mack02445@mindspring.com>
Re: NYNY (Start tellin' the news)
  by "Alan Freed" <acfreed0904@earthlink.net>
Re: John Cage's 639-year organ work
  by <lindr@cch.com>
RE: more on performance practice
  by "Emmons, Paul" <pemmons@wcupa.edu>
RE: more on performance practice
  by "Emmons, Paul" <pemmons@wcupa.edu>
Re: more on performance practice
  by <quilisma@socal.rr.com>
Re: more on performance practice
  by <Cremona502@cs.com>
Re: PipeChat Digest #3409 - 01/28/03
  by "jon bertschinger" <jonberts@magiccablepc.com>
Re: John Cage's 639-year organ work
  by "Ross & Lynda Wards" <TheShieling@xtra.co.nz>
Re: PipeChat Digest #3409 - 01/28/03
  by <Chicaleee@aol.com>
Re: more on performance practice
  by "Del Case" <dcase@puc.edu>
Organ Scam
  by <Quentsmith@aol.com>
 

(back) Subject: Re: TRINITY CHURCH, WALL STREET ... TRUE MOTIVES ????? From: "Mattcinnj" <mattcinnj@yahoo.com> Date: Thu, 6 Feb 2003 08:19:56 -0800 (PST)   --0-665933449-1044548396=3D:27004 Content-Type: text/plain; charset=3Dus-ascii     Hi All,   Having assisted the organ curator of this organ in the early 70's and = being very active in that era's organ concert series, I would like to = comment on what is happening with regards to the E-org substitution etc.   The seeds of destruction for Trinity's organ were sown at its very = inception when Larry King absolutely refused to consider any other builder = than AS. The vestry at that time was dead against it due to the financial = situation of AS. Builders such as Austin and Schantz, whose quality and = longevity could not be faulted, never were given a chance because they = lacked the panache of AS.   The resulting cost cutting that was mandated due to penalty clauses in = this contract resulted in an installation that immediately underwent a = never ending cycle of renovation. I believe the cost of the AS was $225K = at that time.   Fast forwarding to the present, I do not fault the church for installing a = temporary E-org because it is going to be quite some time before pipe = organs are going to be in place. No one on this list has the right to deny = Trinity's congregation a musical ministry. The fact that this is the most = expensive E-org ever built BY FAR, is temporary and is a prototype is a = little mind-boggling. I say little because after 40 plus years of = experience in the pipe organ world, I have come to expect anything but = sane behavior / judgement / decision making.       In the case of MEGA, MEGA bucks Trinity, it is the NORM that they are = overcharged for anything and everything, so the absurd amount for the = E-org is understandable. Now to the other factor of an untried, untested, = unknown prototype instead of an Allen, Rodgers, Johannus or any other = established E-org manufacturer.   I can only think (and hope) that the organist and vestry of Trinity do NOT = want to do anything to "help" these manufacturers in any way and = especially the 500 lb. gorilla of PA's whose instruments are going into = Churches such as St. John The Divine (temporarily). I am hoping that they = are "drawing a line in the sand" and are in effect saying, "We would = rather gamble on something new, even though it is costing a fortune, than = do anything to support, or lend credence to your instruments". Looking at = the latest ads in the AGO magazine etc. , of course Trinity's reputation = would be capitalized on, and in the opinions of many, sullied by any = association whatsoever with, you know who.   This makes some sense to me and I actually view this as a positive, pipe = organ supporting, perspective. I REALLY HOPE THIS IS INDEED THE CASE. If = it is, the members of this list may want to "lighten up" on Trinity's = vestry and organist as their true (again I am hoping )motives and actions = may be directly opposite to what is generally being surmised.   As to the intrigue of which pipe organ builder(s) will, or have been = chosen, I leave this to those closer to the action.   Matt       --------------------------------- Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now --0-665933449-1044548396=3D:27004 Content-Type: text/html; charset=3Dus-ascii   <B><I><FONT face=3D"Utah Condensed"> <P>Hi All,</P> <P>Having assisted the organ curator of this organ in the early 70's and = being very active in that era's organ concert series, I would like to = comment on what is happening with regards to the E-org substitution etc. = </P> <P>The seeds of destruction for Trinity's organ were sown at its very = inception when Larry King absolutely refused to consider any other builder = than AS. The vestry at that time was dead against it due to the financial = situation of AS. Builders such as Austin and Schantz, whose quality and = longevity could not be faulted, never were given a chance because they = lacked the panache of AS.</P> <P>The resulting cost cutting that was mandated due to penalty clauses in = this contract resulted in an installation that immediately underwent a = never ending cycle of renovation. I believe the cost of the AS was $225K = at that time.</P> <P>Fast forwarding to the present, I do not fault the church for installing a temporary E-org = because it is going to be quite some time before pipe organs are going to = be in place. No one on this list has the right to deny Trinity's = congregation a musical ministry. The fact that this is the most expensive = E-org ever built BY FAR, is temporary and is a prototype is a little = mind-boggling. I say little because after 40 plus years of experience in = the pipe organ world, I have come to expect anything but sane behavior / = judgement / decision making.</P> <P></P> <P>In the case of MEGA, MEGA bucks Trinity, it is the NORM that they are = overcharged for anything and everything, so the absurd amount for the = E-org is understandable. Now to the other factor of an untried, untested, = unknown prototype instead of an Allen, Rodgers, Johannus or any other = established E-org manufacturer. </P> <P>I can only think (and hope) that the organist and vestry of Trinity do = NOT want to do anything to "help" these manufacturers in any way and = especially the 500 lb. gorilla of PA's whose instruments are going into = Churches such as St. John The Divine (temporarily). I am hoping that they = are "drawing a line in the sand" and are in effect saying, "We would = rather gamble on something new, even though it is costing a fortune, than = do anything to support, or lend credence to your instruments". Looking at = the latest ads in the AGO magazine etc. , of course Trinity's reputation = would be capitalized on, and in the opinions of many, sullied by any = association whatsoever with, you know who. </P> <P>This makes some sense to me and I actually view this as a positive, = pipe organ supporting, perspective. I REALLY HOPE THIS IS INDEED THE CASE. = If it is, the members of this list may want to "lighten up" on Trinity's = vestry and organist as their true (again I am hoping )motives and actions = may be directly opposite to what is generally being surmised.</P> <P>As to the intrigue of which pipe organ builder(s) will, or have been = chosen, I leave this to those closer to the action.</P> <P>Matt</P></B></I></FONT><p><br><hr size=3D1>Do you Yahoo!?<br> <a = href=3D"http://rd.yahoo.com/mail/mailsig/*http://mailplus.yahoo.com">Yahoo!= Mail Plus</a> - Powerful. Affordable. <a = href=3D"http://rd.yahoo.com/mail/mailsig/*http://mailplus.yahoo.com">Sign = up now</a> --0-665933449-1044548396=3D:27004--  
(back) Subject: Recital Information From: "mack02445" <mack02445@mindspring.com> Date: Thu, 06 Feb 2003 11:23:04 -0500   Have been reading the posts about more information being given at recitals. I do agree with this it is nice to have a history of the organ or specification at least.   In my recent posting about Felix's recital in Hartford on Sunday, the 9th, I did not do this other than to add the builder and restorer of the organ. As I have received a copy of the specification from the organist, I am adding it to this post.   Hope to see some of you there.   Cheers, Mack   GREAT 16' Lieblich Gedeckt 8' Principal 8' Spitzfl=F6te 8' Bourdon 4' Octave 2-2/3' Twelfth 2' Super Octave   SWELL 8' Geigen 8' Stopped Diapason 8' Viole de Gambe 8' Viole Celeste 4' Flute Octaviante III Plein Jeu 16' Clarinet 8' Trumpet 8' Vox Humana 4' Clarion Tremulant   CHOIR 8' Viola 8' Cor de Nuit 8' Dulciana 8' Unda Maris 4' Nachthorn 2-2/3' Nasard 2' Blockfl=F6te 8' Cromorne Tremulant   PEDAL 16' Contre Basse 16' Bourdon 16' Lieblich Gedeckt (Gt) 8' Octave 8' Gedeckt (Gt) 4' Choral Bass   The instrument, as you note, was completely restored by Thompson-Allen in 1995 and, as such, functions perfectly and is as clean and as beautiful as if it was just installed.   On the tonal side, the organ was allegedly designed by G. Donald Harrison, but I suspect that Bill Zeuch has more to do with it. The organ has excellent placement at the center rear of the church in a wide open = chamber. The acoustics could be better, and the stoplist is even a bit thin, = perhaps, but the sound of the organ fills the church well and it has served the congregation faithfully. There have been no modifications to the organ at all, save for a console overhaul in 1960 when the balcony was modified.   With regard to stoplists of other Aeolian-Skinners, I refer you to http://www.uwm.edu/~slayden/. This site is by no means comprehensive, but it is the most complete on-line listing I've seen yet.   I look forward to meeting you as well. We'll have a reception afterward, = so please find me.   All the best, Floyd Higgins          
(back) Subject: Re: NYNY (Start tellin' the news) From: "Alan Freed" <acfreed0904@earthlink.net> Date: Thu, 06 Feb 2003 11:38:16 -0500   On 2/5/03 11:58 PM, "Colin Mitchell" <cmys13085@yahoo.co.uk> wrote:   > With a great sense of relief, I fled across the > Brooklyn Bridge and headed out towards Boston! > Snip > > Boston was lovely.   Glad to hear it was. I wonder where you were! If you fled across the Brooklyn Bridge, you were going AWAY from Boston, not toward it.   Well, unless you fled FROM Brooklyn, to Manhattan, and THEN northeast = toward (or "towards" in Britese) Boston. (Maybe you went to Boston UK?)   Anyway, more important: Next time you come to NYC (and I hope it's soon), let me know, and I'll make sure you hear organs being played, even if you have to do it yourself. Tell me also what KINDS of instruments you want = to sample, as there are so MANY here! Baroque? Romantic? Skinner? = Digital?   Alan    
(back) Subject: Re: John Cage's 639-year organ work From: <lindr@cch.com> Date: Thu, 6 Feb 2003 10:43:29 -0600             I have just read TubaMagna's e-mail with a true sense of horror. Usually I spend my life bashing insensitive speed-demon-sewing-machine-robotlike performers who dash off everything without a care in the world. Now we = have to contend with a latter-day Schweitzer imitator who has no sense of proportion or context.   If Mr. Gluck would so much as bother to look back 197 years in the score = to the remarkable molto lentissississimo e smorzando e mortandississimo section (the full direction to the performer takes 12 pp., but you get the gist), he just might get an inkling of what Cage was driving at with his sudden cascades. They simply MUST leap off their 7700 or so pages (I don't have the score with me at the office, so I'm guessing here) as directed or you might as well not bother to play this piece at all. I don't even want to conjure up images of how lumpishly he treats the built-in notational accelerando that follows 84 years later. This guy obviously is a charlatan of the worst (or is it best?) order (oder ist das odor?).   I'm very happy to say I have not heard any of these travesties in person = (I did hear a 3-year sound bite on BBC, but that doesn't count), and I intend to start a worldwide boycott. I can only hope none of these inauthentic performances have been recorded for eventual release on whatever medium might reluctantly and groaningly be able to contain such crass schlock.   And then there's his outrageous ideas for "short and light" follow-up pieces. Along with everything else, we have to put up with a fellow who = has no sense of how to put a program together. I'd send him any number of fool-proof ideas, but thoughts of his soporific rendition of the grace notes are driving me to narcolepsy.   Go ahead--make an idol out of this man. You just wait for until another 6,398 performances of this piece have entered the mainstream and we all really have a handle on this music and then come back and tell me I'm wrong!   RJLind       Regarding John Cage's 639-year-long organ piece:   I have played the work eight times in recital. Despite being lauded for its originality, I have always felt that = those   triplet figures in measures 356,978,457,008 through 356,978,457,617 were rather derivative and contrived. Although Cage states that the grace notes in the descending scales = that   start at measure 4,196,977,347,096 "should be leapt off of, as if they = were   hot, and not held for more than fourteen months," I find that if they are held less than a year and a half, it sounds like a mistake, and the audience doesn't understand the musical gesture. When playing the work, it is best to follow it with something short = and   light, such as Les Six Cent Soixante-Six Esquisses Ecosses de Saint-Saens, a couple of lighthearted weeks that keep the program moving.          
(back) Subject: RE: more on performance practice From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Thu, 6 Feb 2003 11:42:27 -0500   >"... A couple of things: even IF the music could be performed in the > context of the Mass, and even IF a priest and congregation would hold still > for the LENGTH, *most* modern congregations would jump out of their = SKINS > if the organist launched into a Grand Jeu in the midst of the Kyrie, = with > all the reeds and cornets blazing away.   Has an AGO convention service ever consisted of a high mass with the choir and organ at opposite ends of the building as in those days, and the organ playing a mass setting such as one of Couperin's? I would like to experience this once in my life. If no Roman Catholic priest can be persuaded to arrange for this, I'm sure there are a few Anglican clergy remaining who would be enlightened or curious enough to put it together properly.   The San Francisco convention in 1984 featured a vespers in which Douglas Butler played Dupre's Vepres du Commun. It was a marvelous, unforgettable experience, even though the organ was somewhat less than ideal. It was long, but not too long (at least for me). Means and ends-- we're = supposedly on this earth to praise God. If just once we have the opportunity to do = so in such an exquisite way, why not revel in it? It was better than a month = of the usual hurrying and scurrying around.   > there is no restriction on the time of the actual elevation(s) > at a Catholic Mass; in our parish, each elevation is at least a full > minute.   I'd like to see that.. I'm afraid that in the Episcopal church, the elevations after the Words of Institution are now frowned upon even by = many Catholic-minded priests. The theology is supposedly more Orthodox that = the elements can't be said to be consecrated until the conclusion of the = "Great Thanksgiving". Well, give me more of the other splendors of the eastern rites and I might be reconciled to being deprived of the Elevation; but until such time I feel like crying out from the pew, "Sir, we would see Jesus!"   There was a superstition in the middle ages, however, that while one gazed at the elevated elements, one did not age. People would run from church = to church just for the elevation. I wouldn't want to see that attitude = return.   > Finally, it is quite possible and appropriate to play an > elevation at Benediction. I think it is beautiful although I have never > done so; I also think it is quite possible that Frescobaldi did this > himself.   That's a nice idea, which I might suggest to Peter and Bernie at S. Clement's (although it has probably occurred to them before). I play Elevations as Communion voluntaries, which I think is quite appropriate.      
(back) Subject: RE: more on performance practice From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Thu, 6 Feb 2003 11:50:02 -0500   Bud writes:   > I can't think of ANY of the latter (in the US, anyway) that will = tolerate a silent Canon,   This happens a few times a year at S. Clement's, Philadelphia. (Or at = least it did in Fr. Swain's time a few years ago).   Not even I would want it to be standard practice, but for a special = occasion (e.g. Christmas Eve, IMHO) it can be beautiful.      
(back) Subject: Re: more on performance practice From: <quilisma@socal.rr.com> Date: Thu, 06 Feb 2003 09:43:31 -0800       "Emmons, Paul" wrote: > > >"... A couple of things: even IF the music could be performed in the > > context of the Mass, and even IF a priest and congregation would hold > still > > for the LENGTH, *most* modern congregations would jump out of their = SKINS > > if the organist launched into a Grand Jeu in the midst of the Kyrie, = with > > all the reeds and cornets blazing away. > > Has an AGO convention service ever consisted of a high mass with the = choir > and organ at opposite ends of the building as in those days, and the = organ > playing a mass setting such as one of Couperin's? I would like to > experience this once in my life. If no Roman Catholic priest can be > persuaded to arrange for this, I'm sure there are a few Anglican clergy > remaining who would be enlightened or curious enough to put it together > properly. >   I didn't experience it personally, but the clergy at All Saints' Episcopal Church in San Diego told me about it: sometime in the late '60s-early '70s a graduate student from San Diego State played the Couperin Mass for the Parishes in the context of an Anglican Mass in St. Paul's Cathedral, San Diego, I THINK with both the chant and the Couperin verses ... the service lasted close to THREE HOURS (grin).   I think it's well to remember that church services up until the advent of radio, TV, automobiles, etc. were also the principal source of "entertainment" as well. People didn't have much of anything else to DO, except read.   Recall that people flocked to Handel's oratorios because they were an acceptable substitute for the theatres, which were dark during Lent in Handel's time ... or the charming descriptions of the congregations waving handkerchiefs (applause was forbidden) at their favorite opera stars at the conclusion of Vespers in Italy.   Life moved at a different pace ... Bach's principal Sunday service lasted three hours; an hour of that was preaching; the rest was liturgy and music, including a full cantata.   From time to time, a few people get snarky about the length of services (particulary during Holy Week) at St. Matthew's ... whereupon the following notice "mysteriously" appears in the bulletin (grin):   The average TV program lasts and hour. The average service at St. Matthew's Church lasts and hour and fifteen minutes. The average movie lasts two hours. The average Super Bowl game lasts three hours. Eternity lasts FOREVER.   Cheers,   Bud    
(back) Subject: Re: more on performance practice From: <Cremona502@cs.com> Date: Thu, 6 Feb 2003 14:28:47 EST     --part1_4a.17c31346.2b74116f_boundary Content-Type: text/plain; charset=3D"UTF-8" Content-Transfer-Encoding: quoted-printable Content-Language: en   In a message dated 2/6/03 10:21:22 AM Eastern Standard Time,=3D20 chabrown@bellatlantic.net writes:     > Using your example of the Buxtehude, you and I can hear the same work in = t=3D wo=3D20 > entirely different ways and bring two very different ideas to our=3D20 > performances. Yet, no one can use the terms = =3DE2=3D80=3D9Cright=3DE2=3D80=3D9D or=3D20=3D =3DE2=3D80=3D9Cwrong=3DE2=3D80=3D9D for either=3D20 >=3D20   "Right" is what provides enjoyment of the music. That you can hear = the=3D20 same work in two entirely different ways and bring two very different = ideas=3D20 to performance, supports my idea of individualized instruments, each = having=3D20=3D a=3D20 unique character. I really enjoy hearing one piece played on = several=3D20 vastely different organs... something new always comes out of it.   Bruce, with Miles, Molly and Degui in the Muttastery at Howling = Acres=3D20 http://members.tripod.com/Brucon502 =3D20     --part1_4a.17c31346.2b74116f_boundary Content-Type: text/html; charset=3D"UTF-8" Content-Transfer-Encoding: quoted-printable Content-Language: en   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2>In a message dated = 2/6/03=3D 10:21:22 AM Eastern Standard Time, chabrown@bellatlantic.net writes: <BR> <BR> <BR></FONT><FONT COLOR=3D3D"#000080" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"><BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: = #0000ff 2px so=3D lid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Using your = exam=3D ple of the Buxtehude, you and I can hear the same work in two entirely = diffe=3D rent ways and bring two very different ideas to our performances. Yet, no = on=3D e can use the terms =3DE2=3D80=3D9Cright=3DE2=3D80=3D9D or = =3DE2=3D80=3D9Cwrong=3DE2=3D80=3D9D for e=3D ither of us.</BLOCKQUOTE> <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"> <BR>"Right" is what provides enjoyment of the music. = &nbsp;&nbsp;&nbsp;That=3D20=3D you can hear the same work in two entirely different ways and bring two = very=3D different ideas to performance, supports my idea of individualized = instrume=3D nts, each having a unique character. &nbsp;&nbsp;&nbsp;I really enjoy = hearin=3D g one piece played on several vastely different organs... &nbsp;something = ne=3D w always comes out of it. <BR> <BR>Bruce, with Miles, Molly and Degui &nbsp;in the Muttastery at Howling = Ac=3D res http://members.tripod.com/Brucon502 = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <BR></FONT></HTML>   --part1_4a.17c31346.2b74116f_boundary--  
(back) Subject: Re: PipeChat Digest #3409 - 01/28/03 From: "jon bertschinger" <jonberts@magiccablepc.com> Date: Thu, 06 Feb 2003 14:17:55 -0600   Chicaleee@aol.com wrote: > > Pipe, glad to see you on Pipechat. I know you will enjoy it, > and we will enjoy your comments. Tell everyone a little about > yourself for an introduction. Lee     Lee: was this addressed to moi? <G> I'm re-upping on PipeChat, as I was away for a while on travel, and didn't want a full up mail box when I returned home.     If you were wondering about me....I work for Temple Organs, Saint Joseph, MO. My title is tonal director. I am responsible for the "sound" of our instruments. I also do the wood finishing. We are a small firm and do projects that vary quite a bit in scope. Prestently I'm refinishing and restringing a 1928 8'8" Chickering Grand for a church where I'm organist. I am organist at two Presbyterian Churches here in Saint Joseph. One has a 1970's "A" toaster, the other a 1930's Kilgen Sludgemaster DeLuxe. Needless to say registration of like works for either church varies quite a bit. The Toaster is "neo BAroke" and the Kilgen....well, it's just a mess, but it's real!   Possibly the most frustrating thing for me in life, is leaving behind one of our instruments, knowing what I have to play on when I get back home...<G>     thanks for asking Lee.       Jon Bertschinger Tonal Director Temple Organs Organist Westminster Presbyterian Organist/accompanist Brookdale Church (Presbyterian)  
(back) Subject: Re: John Cage's 639-year organ work From: "Ross & Lynda Wards" <TheShieling@xtra.co.nz> Date: Fri, 7 Feb 2003 10:02:17 +1300   Could I make a suggestion?   Cage once wrote a piece of Silence. If this multi-century piece were as silent, you could play all the movements together: so, if the piece has = six movements, you would effectively hear only one silence instead of six, an audibly shorter silence than if you played the movements one after the other.   Gee, Mum, the Emperor is in the nude!   Ross    
(back) Subject: Re: PipeChat Digest #3409 - 01/28/03 From: <Chicaleee@aol.com> Date: Thu, 6 Feb 2003 15:40:25 EST     --part1_1ee.1302854.2b742239_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Jon,   Thanks for the introduction. I am always glad to know more about the = members with whom I chat, or form whom I learn. I am relegated to an Allen 300C = at church, but it has been "updated," and sufficient for the services. I try = to be as quite as possible and learn from the other members of the group; however there are times I feel compelled to speak out. It's good to know you. Lee   --part1_1ee.1302854.2b742239_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT COLOR=3D3D"#400040" SIZE=3D3D2 = FAMILY=3D =3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0">Jon,<BR> <BR> Thanks for the introduction. I am always glad to know more about the = members=3D with whom I chat, or form whom I learn.&nbsp; I am relegated to an Allen = 30=3D 0C at church, but it has been "updated," and sufficient for the = services.&nb=3D sp; I try to be as quite as possible and learn from the other members of = the=3D group; however there are times I feel compelled to speak out.&nbsp; It's = go=3D od to know you.&nbsp; Lee</FONT></HTML>   --part1_1ee.1302854.2b742239_boundary--  
(back) Subject: Re: more on performance practice From: "Del Case" <dcase@puc.edu> Date: Thu, 06 Feb 2003 16:16:19 -0700       Alan Freed wrote: > > On 2/4/03 6:13 PM, "Del Case" <dcase@puc.edu> wrote: > > > I have a real problem with the term "AUTHENTIC." > > Dr. Case: You sound very sensible to me. What/where is Pacific Union > College? Year founded (just an academic questions, because I thought I = knew > West coast schools, but this one does not ring a bell)? > >   Hello Alan and any others who find this interesting.   Pacific Union College is a Seventh-day Adventist five year (Master's in = Ed.) liberal arts college located in the mountains above the Napa Valley and = was established in 1882. We are very highly rated by US News and World Report intheir annual college rankings. Our sciences are strong and our pre-meds and pre-dents have a high acceptance rate to the schools of their choice. We have about 1600 students and enrollment is not restricted to church members.   The Music Department is NASM accredited and offers both two and four year programs. The BMus has performance or education tracks and there is also a BS that is designed for pre-meds. Music majors, by the way, have a much acceptance rate nationally to med schools than science majors, according to a Rockefeller Foundation study.   Organ facilities include a IV-85 Rieger tracker in the chapel, a III-48 Casavant EP in the Recital Hall, a II-18 Bosch tracker in the organ studio and a II-3 Phelps tracker in a practice room. The Rieger is available to anyone who wants to come and try it. It is not a 1950s, 1960s Neo-Baroque instrument! We also have a large endowment specifically for organ study.   I bring in a major recitalist every year. Last Saturday Paul Jacobs was here and played a marvelous program. Others have included Felix Hell, David Higgs, Guy Bovet, Simon Preston, Cathrine Crozier, Fred Swann, McNeil Robinson, etc.   I hope this provides the information you wanted. Thanks for asking.   Del  
(back) Subject: Organ Scam From: <Quentsmith@aol.com> Date: Thu, 6 Feb 2003 19:32:54 EST   My wife and I have been enjoying the pipechat for a month or so. Karen has =   studied with Richard Purvis for over ten years and we were close with Ted Alan Worth. So we have certain feelings for organ music and the way it is played, we are amused by some of the postings and saddened by others, but this is a great forum. I wish to tell you folks about a scam that is going = on and it regards the organ we have for sale. We listed on several internet sites our new Rodgers Trillium 927 three manual organ. List price was $58,900, we offered it up for sale for $41,500, and it is still for sale. = We just got the Rodgers three manual 967 installed today in our house so we = do not need the 927. We received a post from someone in Nigeria asking about =   the price and the shipping costs there, no address. I sent the response = back with a guesstimate on the shipping costs. They responded saying that they = had someone in the US that would handle the shipping for them. What I find out = is through the 300 Club International that this trick has been pulled on high =   ticket items for sale on the internet, in those cases classic 300 letter cars. The person will send a certified check for more than the amount = agreed to, asking to send the difference to someone in the US. The person takes = the certified check to the bank, waits seven days and when the bank says the check has cleared they send the additional money out. This amount ranges between $4500 to nearly $10,000. Two weeks later the bank calls, the check = is no good and you owe the bank for the money. Invariably this happens = without the goods being shipped as the person who is to take care of the shipping never shows or responds. Everyone on the list needs to be aware of this = scam, be it cars, organs or whatever they might be selling. Quentin & Karen = Smith