PipeChat Digest #3454 - Friday, February 14, 2003
 
Re: Digital Vs. Pipes
  by "Neil Craig" <neil.craig@softhome.net>
Real World Instruments and Other things
  by "Vern Jones" <soundres@foothill.net>
How does the Rodgers sound compared to an Allen
  by <Quentsmith@aol.com>
Re: Looking for Music
  by <ProOrgo53@aol.com>
Re: Jewish organ music
  by <ProOrgo53@aol.com>
Cassavant reeds / nice new digital organs
  by <TRACKELECT@cs.com>
Hymn Search and Evensong at Norwich Cathedral
  by <OrganNYC@aol.com>
 

(back) Subject: Re: Digital Vs. Pipes From: "Neil Craig" <neil.craig@softhome.net> Date: Fri, 14 Feb 2003 05:11:44 +0000   On Friday 14 February 2003 2:18 am, you wrote: >----- Original Message ----- From: "Neil Craig" <neil.craig@softhome.net> >To: "PipeChat" <pipechat@pipechat.org> >Sent: Thursday, February 13, 2003 6:16 PM >Subject: Re: Digital Vs. Pipes > >> Download the (short) excerpts from their CD and review their technology >pages. >> This is a bleeding-edge digitial system. > >Why would listening to the CD help? If it was digitally sampled from a = pipe >organ, the digital system would sound like a digital recording of a pipe >organ. And on a CD -- which is digital -- a pipe organ would sound like = a >digital recording of a pipe organ too. Because it WOULD BE a digital >recording of a pipe organ.   This would only hold true if one recorded an entire piece, placed that = into the digital organ's memory and had the whole thing replay whenever a key = was pressed. If this were not so, we'd already have the "perfect" emulation = of a pipe organ, which we don't. If we threw the same amount of money at developing a system as Boeing does in simulating a 747, then we might = start getting close. Current hardware does not, unlike a CD recording of a PIPE =   organ, have zero latency when you press a key. This varies drastically between systems. In an ideal world, the only latency on the digital organ =   would be in the speech of the original pipe. This would not change regardless of how fast you played or with how many stops were drawn.   >Assuming the original voicing that was sampled >was equally good, they would be BOUND to sound equally good. To compare = the >two in any meaningful way you would have to listen to the actual = electronic >and the actual pipe organ in the flesh. CD's only obfuscate things.   Why? If a 16-bit digital recording of a pipe can capture most of the = nuances thereof, then a 16-bit recording of an entire digital or pipe organ can do =   the same. If one cannot tell the difference between a pipe organ and a digital organ on a CD, then it should likewise be impossible to tell the difference between digitally sampled open and stopped diapasons, which is oviously bunkum. Either you have fidelity or you don't. Furthermore, if digital =3D perfect then an Allen, a Rogers, a Johannus and a Phoenix all employing the exact same sample set, would sound exactly the same. I put = it to you that they wouldn't because of imperfections in the underlying architecture. It is the architecture that we're really discussing.   CD's are clearly capable of conveying the emotion of music, otherwise we'd = not bother listening to them. If they can convey emotion they can faithfully record the difference in accuracy of response to input, of tone quality = and ensemble of a pipe organ and a digital organ (or two digital organs) monotonously playing the same nursery-rhyme controlled in each case by a = MIDI console.   My context was, to use the CD/soundbites as a comparison with earlier generation instruments.   People tend to assume that "Digital =3D Perfect" and that the sound will automatically be better if 24-bit DACs are used as opposed to 16-bit or whatever. It won't - the supporting hardware and software will make the difference. From all the literature I've read and, yes, recordings I've listened to, plus various generations and makes of electronic I've = listened to in-situ, it is my personal opinion that the Phoenix digitally sampling system has the capacity to be the least compromised both technically and sonically which is why I made my suggestion. Some may find their = literature to be technically over-detailed. I found that it had a much lower B$ = factor than the competition.   Best regards//Neil   >"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: Real World Instruments and Other things From: "Vern Jones" <soundres@foothill.net> Date: Thu, 13 Feb 2003 21:34:53 -0800   Hello All,   I see a lot of chat about Real instruments and Electronics, as well as ways to explain why pianos require 'stretch' tuning, and a way to relate this to others.   I have worked for many years with real and electronic instruments as well as electronics used for communication over wires as well as radio and microwave.   Mother nature has bestowed certain laws of physics on all of these various instruments whether they be digital, analog, strings or windblown pipes.   The same laws that apply to the piano string or the windblown pipe also apply to the microwave waveguide as well as to the radio antenna system.   The real trouble comes when trying to get something to behave in an unnatural way. A short weighted string in a small spinet piano. A short pipe, Haskelled or stopped to trying imitate its longer open brother. The digital sampling of acoustical sounds. The analog electronic imitation of acoustical sounds.   All of the above behave best in their own natural environment.   If I were to refer to a spinet piano string in microwave terms, I would be talking about tuned stubs and excitation modes all coupled to an antenna system that is not quite big enough to couple the energy to the air.   When shortcuts are taken whether it is an Organ, Piano, Microwave System, or Radio System something suffers. To sample an organ for digital playback with enough acoustical watts to rival a large pipe organ in that same building would be as expensive or maybe even more expensive than the real pipe organ. To make a spinet piano behave like a concert grand is an impossibility for the reasons Kieth was trying to explain.   I happen to like large Theater Pipe Organs, I have never heard an electronic that could imitate one. If one were to run a Fourier transform on a Theater Pipe and its imitation it would be seen that the side bands of the pipe far exceed the imitation. The same would be true for any of the classical pipe organs as well as a sampled grand piano.   The recordings (digital samplings) are too short, the recordings do not cover all the parts of the natural speaking environment of the real instrument. Most of all, makers of sample playing instruments are in it for a profit. So don't use 2GB of memory for a sample, get by with a few K of memory, even in this day of cheap memory.   The sample makers are getting better, there is a place for sampling types of instruments as well as spinet pianos. Pipe voicers will still have to do the same things to pipes as the piano tuner does to the strings to get them to speak in tune with them selves.   So what does all of this mean, the real thing still works best, the imitations are getting better, and there is a place for both. In addition it is also difficult at times to convey meanings of complex happenings to a general audience as well as to an informed one.   There are still arguments about what is best..and what is a proper definition of some term. This group, if I recall, is still about Pipe Organs and a place to chat about Pipe Organs. I find most of what is said here to be quite interesting, read a sermon or two, read a rant, but most important is the good online friendship that results from these chats.   I hope I haven't been too long winded. I have enjoyed the talk about INHARMONICITY and the Pipes vs.. Electronics, the Rodgers 967, the Casavant Reed Pipes, the new 32' Bombarde (digitally sample that one) and other topics presented here.   So have a great week and a great weekend everyone and enjoy listening to or playing your favorite organ.   Vern  
(back) Subject: How does the Rodgers sound compared to an Allen From: <Quentsmith@aol.com> Date: Fri, 14 Feb 2003 00:52:24 EST   To the questioner: How does it compare to an Allen? The Rodgers is far superior to the Allen organ in replay of the sampled sounds, in the reproduction of pipe organ phenonomana and the integration with actual = pipes. 1. The sampled pipe sounds are taken in stereo, at two locations of the = pipe, from the lip and the top if it is not capped. These sounds are reproduced with two digital generators, not one like the Allen; to produce stereo = sound. The sound is sent to two different speakers to accomplish this and also lessens the burden of one speaker carrying all the notes of the rank, it = is split between the two speakers. 2. In reproduction of the samples, the = organ plays them digitally but in order to be heard are played analog, this is = the case of all digital organs. The Rodgers uses a higher cycle to reproduce these than the Allen, better quality, better resolution. 3. The Allen does =   not use sampled digital sounds underneath the pipe stops, they only play pipes. The Rodgers will play digital sampled sounds along and under the pipes, the tuning is adjustable to meet the tuning of the pipes that day, they always change. By having a sampled stop underneath the pipe stop is = an advantage two ways. One is if the rank goes for some reason, you can have = it reproduced without the loss of the rank, you just play the digital stop. Also, if you want to do concerts outside of the hall or church, you can = play the organ with all digital stops, moving the console to the site to be played. It can then be hooked up to the pipes again upon return. My wife played a four manual Allen at a residence that cost $140,000 we were told = by the Allen dealer. The organ when played at high stop pulls turns into a monotone, it does not do well as each stop is pulled. The Rodgers is distinctive, in that, when a stop, such as a Vox Humana is pulled, that = even though louder stops are up and playing, you will still hear the stop come = in. The Allen does not do this. Also the Rodgers has reactions to the swell = boxes opening and closing. When ubruptly shut, the sound coming from the Swell, = for instance, will still remain at the level before the shut for a momentary split second and then the permutations of the Swell being shut occur.This = is well reproduced in the Rodgers. You can adjust the swell shutters = thickness via the computer window on the console to change that effect. Rodgers = also has pipe modulation and detuning occuring throughout the play of the = note(s). A waver, slight, and not unlike a tremulant or a celeste as the stops play =   against one another because the pitch is not dead on, just like a pipe = organ. When you turn the instrument off, it will come back on the next time with = a slightly different tuning, much again like a pipe organ. Rodgers also has = the RSS reverb system that plays in quadraphonic sound and is adjustable to 64 =   different combinations. The Rodgers goes from small room and wood walls = to cathedral and marble walls, giving a reverb of 10 seconds or more, the = Allen has less combinations. Rodgers also uses this with pipes. In a dead room a =   digital organ or a pipe organ has no natural reverberation. Now digital organs have the reverb built in , but Rodgers takes it one step further = with their pipe/digital combination. Normally the pipes in a dead room would = not reverberate but the digital pipe sounds would, setting off a distortion = when both are played together. Now Rodgers puts omni-directional mikes in the pipe chambers at selected points, merges this sound with the digital = sounds and all the organ sounds now come out in quadraphonic reverb stereo. We really love our new Rodgers and we listened to the Allen before making our =   choice. I would recommend to those that have a dealership of Rodgers or Allen nearby, to go there and listen as the technology for both companies =   has jumped tremendously in the last two or three years. You will be surprised, I am sure about how the new digital organs sound. Not every = church or home can afford or have the room for a pipe organ, though one is ideal, the next best is a digitally sampled pipe sound. Quentin Smith  
(back) Subject: Re: Looking for Music From: <ProOrgo53@aol.com> Date: Fri, 14 Feb 2003 01:28:55 EST     --part1_79.9f2fe24.2b7de6a7_boundary Content-Type: text/plain; charset=3D"ISO-8859-1" Content-Transfer-Encoding: quoted-printable   In a message dated 2/13/2003 7:18:47 PM Central Standard Time,=3D20 organist2@mindspring.com writes:   > Festive Fanfare - by S. Drummond Wolff > =3D20 > If you know the piece, would you e-mail me the publisher and if it is = shee=3D t=3D20 > music or in a collection. I am not sure if it is in print. Thank you > =3D20 > Jerry K Anderson Organist > First Lutheran Church > 1234 Fairlawn Rd > Topeka, Ks. 66614 >=3D20   Hello Jerry - I am not sure if it is still in print either but it was=3D20 published by=3D20 BMI Canada, Ltd.=3D20   BMI Canada Ltd/Lt=3DE9e (publisher, Toronto) B.M.I. Canada, 16 Gould Street, Toronto 2, Ontario, Canada =3D20   SOCAN =3D3D Society of Composers, Authors and Music Publishers of=3D20 Canada/Soci=3DE9t=3DE9 canadienne des auteurs, compositeurs et = =3DE9diteurs de mus=3D ique=3D20 1990- (CPRS 1925-45, CAPAC 1945-90, BMI-Canada 1947-77, PRO Canada = 1977-90)=3D20 =3D20       They do not appear to have a website. I tried Google & Ask Jeeves.=3D20   I own a copy of this music but cannot find it in my file which means = I=3D20 probably have it at my church amidst my stacks of music to learn and = perform=3D ..=3D20 Sorry! If I can find it, I will be happy to send it to you.=3D20   Dale G. Rider, MSM, CAGO   Organist/Director of Music Ministries (1990) First Baptist Church /American Sanctuary Organ - Temple (1984), St. Joseph, Missouri - 3m/52 = rks=3D20 100 West Red Bridge Road Kansas City, Missouri 64114   Organ Staff (since 1969) Community of Christ=3D20 Auditorium Organ - AEolian-Skinner (1959) 4m/113 = rks=3D20 Temple Organ - Casavant (1993) 4m/102 rks=3D20 Worship Office P. O. Box 1059 Independence, Missouri 64051   Life Member Hymn Society of America   Greater Kansas City Chapter (Dean, = 1982-'83) American Guild of Organists   God bless you today and everyday! Jesus said: "I am the light of the world.=3DA0 Whoever follows me = will=3D20 never walk in darkness, but will have the light of life."=3DA0 - John = 8:12=3D =3D20           --part1_79.9f2fe24.2b7de6a7_boundary Content-Type: text/html; charset=3D"ISO-8859-1" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D3 FAMILY=3D3D"SERIF" = FACE=3D3D"=3D Times New Roman" LANG=3D3D"0">In a message dated 2/13/2003 7:18:47 PM = Central=3D20=3D Standard Time, organist2@mindspring.com writes:<BR> <BR> <BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT=3D : 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"></FONT><FONT = COLOR=3D3D"#000000"=3D style=3D3D"BACKGROUND-COLOR: #ffffff" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"A=3D rial" LANG=3D3D"0">Festive Fanfare -&nbsp;</FONT><FONT = COLOR=3D3D"#000000" styl=3D e=3D3D"BACKGROUND-COLOR: #ffffff" SIZE=3D3D3 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Arial"=3D LANG=3D3D"0"> </FONT><FONT COLOR=3D3D"#000000" = style=3D3D"BACKGROUND-COLOR: #fff=3D fff" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0">by S. = Drummond=3D20=3D Wolff</FONT><FONT COLOR=3D3D"#000000" style=3D3D"BACKGROUND-COLOR: = #ffffff" SIZ=3D E=3D3D3 FAMILY=3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0"><BR> &nbsp; <BR> </FONT><FONT COLOR=3D3D"#000000" style=3D3D"BACKGROUND-COLOR: #ffffff" = SIZE=3D3D2=3D FAMILY=3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0">If you know the = piece, would=3D you e-mail me the publisher and if it is sheet music or in a = collection.&nb=3D sp; I am not sure if it is in print.&nbsp;</FONT><FONT = COLOR=3D3D"#000000" st=3D yle=3D3D"BACKGROUND-COLOR: #ffffff" SIZE=3D3D3 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Aria=3D l" LANG=3D3D"0"> </FONT><FONT COLOR=3D3D"#000000" = style=3D3D"BACKGROUND-COLOR: #f=3D fffff" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" FACE=3D3D"Arial" = LANG=3D3D"0">Thank you</FO=3D NT><FONT COLOR=3D3D"#000000" style=3D3D"BACKGROUND-COLOR: #ffffff" = SIZE=3D3D3 FAM=3D ILY=3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0"><BR> &nbsp; <BR> </FONT><FONT COLOR=3D3D"#000000" style=3D3D"BACKGROUND-COLOR: #ffffff" SIZE=3D3D2=3D FAMILY=3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0">Jerry K Anderson = Organist<BR=3D > First Lutheran Church<BR> 1234 Fairlawn Rd<BR> Topeka, Ks. 66614</FONT><FONT COLOR=3D3D"#000000" = style=3D3D"BACKGROUND-COLOR:=3D20=3D #ffffff" SIZE=3D3D3 FAMILY=3D3D"SANSSERIF" FACE=3D3D"Arial" = LANG=3D3D"0"><BR> </BLOCKQUOTE><BR> </FONT><FONT COLOR=3D3D"#000000" style=3D3D"BACKGROUND-COLOR: #ffffff" = SIZE=3D3D3=3D FAMILY=3D3D"SERIF" FACE=3D3D"Times New Roman" LANG=3D3D"0"><BR> Hello Jerry - I am not sure if it is still in print either but it was = publis=3D hed by <BR> BMI Canada, Ltd. <BR> <BR> </FONT><FONT COLOR=3D3D"#000000" style=3D3D"BACKGROUND-COLOR: #ffffff" = SIZE=3D3D2=3D FAMILY=3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0">BMI Canada = Ltd/Lt=3DE9e (publi=3D sher, Toronto)<BR> B.M.I. Canada, 16 Gould Street, Toronto 2, Ontario, Canada <BR> <BR> SOCAN&nbsp; =3D3D Society of Composers, Authors and Music Publishers of = Can=3D ada/Soci=3DE9t=3DE9 canadienne des auteurs, compositeurs et =3DE9diteurs = de musiqu=3D e 1990- (CPRS 1925-45, CAPAC 1945-90, BMI-Canada 1947-77, PRO Canada = 1977-90=3D ) <BR> <BR> <BR> <BR> <BR> They do not appear to have a website.&nbsp; I tried Google &amp; Ask = Jeeves.=3D <BR> <BR> I own a copy of this music but cannot find it in my file which means I = proba=3D bly have it at my church amidst my stacks of music to learn and perform. = Sor=3D ry!&nbsp; If I can find it, I will be happy to send it to you. <BR> <BR> </FONT><FONT COLOR=3D3D"#000000" style=3D3D"BACKGROUND-COLOR: #ffffff" = SIZE=3D3D2=3D FAMILY=3D3D"SERIF" FACE=3D3D"Book Antiqua" LANG=3D3D"0"><B>Dale G. = Rider</B>,&nbs=3D p; </FONT><FONT COLOR=3D3D"#000000" style=3D3D"BACKGROUND-COLOR: #ffffff" = SIZE=3D =3D3D1 FAMILY=3D3D"SERIF" FACE=3D3D"Book Antiqua" LANG=3D3D"0"><I>MSM, = CAGO<BR> <BR> Organist/Director of Music Ministries </I>(1990)<BR> </FONT><FONT COLOR=3D3D"#000000" style=3D3D"BACKGROUND-COLOR: #ffffff" = SIZE=3D3D2=3D FAMILY=3D3D"SERIF" FACE=3D3D"Book Antiqua" LANG=3D3D"0"><B>First Baptist = Church</=3D B> /American<BR> &nbsp;&nbsp;&nbsp;&nbsp; Sanctuary Organ - Temple (1984), </FONT><FONT = COLO=3D R=3D3D"#000000" style=3D3D"BACKGROUND-COLOR: #ffffff" SIZE=3D3D1 = FAMILY=3D3D"SERIF"=3D20=3D FACE=3D3D"Book Antiqua" LANG=3D3D"0">St. Joseph, Missouri</FONT><FONT = COLOR=3D3D"=3D #000000" style=3D3D"BACKGROUND-COLOR: #ffffff" SIZE=3D3D2 = FAMILY=3D3D"SERIF" FACE=3D =3D3D"Book Antiqua" LANG=3D3D"0"> - 3m/52 rks <BR> 100 West Red Bridge Road<BR> Kansas City, Missouri 64114<BR> <BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <I>Organ Staff&nbsp; = </I>(s=3D ince 1969)<BR> <B><I>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </I>Community of = Chri=3D st</B> <BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= s=3D p;&nbsp;&nbsp;&nbsp; Auditorium Organ - <I>AE</I>olian-Skinner = (1959)&nbsp;=3D20=3D 4m/113 rks <BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= s=3D p;&nbsp;&nbsp;&nbsp; Temple Organ - Casavant (1993)&nbsp; 4m/102 rks <BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Worship Office<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; P. O. Box 1059<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Independence, Missouri = 6405=3D 1<BR> <BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= s=3D p;&nbsp;&nbsp;&nbsp; Life Member<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= s=3D p;&nbsp;&nbsp;&nbsp; <B>Hymn Society of America<BR> </B><BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= s=3D p;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; = =3D20=3D Greater Kansas City Chapter (Dean, 1982-'83)<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= s=3D p;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; = =3D20=3D <B>American Guild of Organists</FONT><FONT COLOR=3D3D"#000000" = style=3D3D"BACKG=3D ROUND-COLOR: #ffffff" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" FACE=3D3D"Arial" = LANG=3D3D"0=3D "></B><BR> <P ALIGN=3D3DCENTER></FONT><FONT COLOR=3D3D"#008000" = style=3D3D"BACKGROUND-COLOR:=3D #ffffff" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" FACE=3D3D"AucoinLight" LANG=3D3D"0"><B><=3D BR> </FONT><FONT COLOR=3D3D"#0000ff" style=3D3D"BACKGROUND-COLOR: #ffffff" = SIZE=3D3D2=3D FAMILY=3D3D"SANSSERIF" FACE=3D3D"AucoinLight" LANG=3D3D"0">God bless you = today an=3D d everyday!<BR> &nbsp;&nbsp;&nbsp;&nbsp; Jesus said: <I>"I am the light of the world.=3DA0 = Who=3D ever follows me will <BR> &nbsp;&nbsp;&nbsp; never walk in darkness, but will have the light of = life."=3D </I>=3DA0 - John 8:12 </FONT><FONT COLOR=3D3D"#000000" = style=3D3D"BACKGROUND-COLO=3D R: #ffffff" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" FACE=3D3D"AucoinLight" = LANG=3D3D"0"></=3D B><BR> <P ALIGN=3D3DLEFT><BR> </FONT><FONT COLOR=3D3D"#000000" style=3D3D"BACKGROUND-COLOR: #ffffff" = SIZE=3D3D1=3D FAMILY=3D3D"SANSSERIF" FACE=3D3D"AucoinLight" LANG=3D3D"0"><I><BR> <BR> </I><BR> </P></P></FONT></HTML> --part1_79.9f2fe24.2b7de6a7_boundary--  
(back) Subject: Re: Jewish organ music From: <ProOrgo53@aol.com> Date: Fri, 14 Feb 2003 01:47:16 EST     --part1_7f.329adaa6.2b7deaf4_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Isadore Freed Six Liturgical Pieces (Preludes) Transcontinental Music Publishers, NY   In my opinion, the two best are THE LORD OF ALL (Adon Olom) and = INVOCATION.   Dale G. Rider   --part1_7f.329adaa6.2b7deaf4_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D3 FAMILY=3D3D"SERIF" = FACE=3D3D"=3D Times New Roman" LANG=3D3D"0">Isadore Freed<BR> Six Liturgical Pieces (Preludes)<BR> Transcontinental Music Publishers, NY<BR> <BR> In my opinion, the two best are THE LORD OF ALL (Adon Olom) and = INVOCATION.<=3D BR> <BR> </FONT><FONT COLOR=3D3D"#000000" style=3D3D"BACKGROUND-COLOR: #ffffff" = SIZE=3D3D2=3D FAMILY=3D3D"SERIF" FACE=3D3D"Book Antiqua" LANG=3D3D"0"><B>Dale G. = Rider</B></FON=3D T></HTML>   --part1_7f.329adaa6.2b7deaf4_boundary--  
(back) Subject: Cassavant reeds / nice new digital organs From: <TRACKELECT@cs.com> Date: Fri, 14 Feb 2003 02:02:19 -0500   SSBzZXJ2aWNlIGFuIGxhcmdlIG9yZ2FuIHRoYXQgaXMgbGFyZ2VseSBDYXNzYXZhbnQgd2l0 aCBhIHBvd2VyZnVsIHRydW1wZXQgaW4gdGhlIEdyZWF0IGJ1aWx0IGJlZm9yZSB0aGUgYmFy b3F1aXN0cyBnYWluZWQgcG93ZXIuIFllcyBpdCBoYXMgc2Nyb2xscyBvbiB0aGUgcmVzb25h dG9ycywgc2FyZGluZSBjYW5zLCBhbmQgSSB1c2UgdGhlbS4gU29tZW9uZSBoYWQgbGVmdCBh IG5vdGUgInR1bmUgcmVlZHMgb24gd2lyZXMgb25seS4iIEkgY2h1Y2tlZCBpdC4gSSBoYXZl IGJlZW4gdHVuaW5nIHJlZWRzIHNpbmNlIHRoZSBOaXhvbiBhZG1pbmlzdHJhdGlvbi4gTm93 IHRoaXMgdHJ1bXBldCBpcyBzbyBzdGFibGUgdGhhdCBpdCBjYW4gYmUgdXNlZCBhcyBhIHR1 bmluZyByYW5rLiBJIHRhcCwgc21hY2ssIGJ1bXAgYW5kIHRodW1wIGluIGFsbCB0aGUgcmln aHQgcGxhY2VzLiBJJ20gbm90IGFib3V0IHRvIGdpdmUgdXAgbXkgc2VjcmV0cyBub3QgaXMg dGhlcmUgc3BhY2UgZm9yIHRoZW0gaGVyZSwgcmVlZHMgdGFrZSBleHBlcmllbmNlLiBKdXN0 IGFzayBBZG9scGggWmFkamlrICh5b3UgY2FuJ3QgaGUncyBkZWFkKSBvciBKb2UgQ2xpcHAu IEtlZXAgZGlydCBvdXQgb2YgdGhlbSBhbmQgdHVuZSBvbiB0aGUgc2Nyb2xscy4gRG9uJ3Qg bGV0IHRoZSByZWd1bGF0aW9uIGdldCBvdXQuIFRoYXQncyB0aGUgbG9uZyBhbmQgc2hvcnQg b2YgaXQuIEkgdHVuZSBHaWVzaWtlIHJlZWRzIG9uIHRoZSBzY3JvbGxzIHRvbyAoc2Nocmll a3Mgb2YgaG9ycm9yISkKCkp1c3QgdGhpcyB3ZWVrIEkgc2VydmljZWQgdHdvIG9yZ2FucyB0 aGF0IHdlcmUgaW4gY29tcGxldGVseSB1bnBsYXlhYmxlIGNvbmRpdGlvbiwgcmlkZGxlZCB3 aXRoIGNpcGhlcnMgYW5kIHdpbmQgbGVha3MuIFRoZSBBbGxlbiBzYWxlc21lbiBoYWQgdmlz aXRlZCBib3RoIGNodXJjaGVzLiAiT2ggdGhhdCBvbGQgcGlwZSBvcmdhbiBpc24ndCB3b3J0 aCBib3RoZXJpbmcgd2l0aCwgaXQgd2lsbCBjb3N0IHlvdSBtb3JlIHRvIHJlcGFpciBpdCB0 aGFuIGl0J3Mgd29ydGguIiBGb3IgdW5kZXIgdW5kZXIgJDIwMC4wMCBJIHB1dCBib3RoIG9m IHRoZW0gaW50byAxMDAlIHBsYXlhYmxlIChhbmQgdHVuZWQpIGNvbmRpdGlvbiBzaW1wbHkg YnkgYWRqdXN0aW5nIHByaW1hcmllcyBhbmQgdGlnaHRlbmluZyBzY3Jld3MgKGl0IGlzIGNv bGQgYW5kIGRyeSBoZXJlIGluIHRoZSBOb3J0aCBFYXN0LiBXb29kIHNocmlua3MuKSBJIGpv a2VkIHdpdGggdGhlIG5pY2Ugb2xkIE1ldGhvZGlzdCBsYWRpZXMgZnVzc2luZyBhYm91dCBp biB0aGUgYmFzZW1lbnQgdGhyaWZ0IHNob3Agd2hvIGhhZCBiZWVuIHNpbmdpbmcgYWxvbmcg d2l0aCB0aGF0IG9yZ2FuIHNpbmNlIHRoZXkgd2VyZSB0b2RkZWxlcnMgdGhhdCBpdCBzb3Vu ZHMganVzdCBsaWtlIHRoZSByZWFsIHRoaW5nIChhIHBpcGUgb3JnYW4pIG5vdy4gSXQncyBh IG5pY2UgZGlnaXRhbCBvcmdhbiwgaXQncyBwbGF5ZWQgd2l0aCB0aGUgZmluZ2VycyBhbmQg dG9lcy4gSSBjb3VsZCBoYXZlIGxlZnQgdGhvc2UgcHJpbWFyaWVzIG91dCBvZiBhZGp1c3Rt ZW50IGFuZCBsZWZ0IHRob3NlIHNjcmV3cyBsb29zZSBhbmQgdG9sZCB0aGVtIHRvIGNodWNr IHRoZSBvcmdhbi4gSSBjb3VsZCBnZXQgYSBmcmFuY2hpc2UgZnJvbSBBbGJvdXJuIEdhbGFu dGksIFJvZGdlcnMgb3IgQWxsZW4gYnV0IEkgbGlrZSB0byBzbGVlcCBhdCBuaWdodC4KClRo YXQncyBhbGwKCkFsYW4gQgo=3D  
(back) Subject: Hymn Search and Evensong at Norwich Cathedral From: <OrganNYC@aol.com> Date: Fri, 14 Feb 2003 04:06:56 EST     --part1_1e9.1e2bd8c.2b7e0bb0_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Today I listened to BBC's Choral Evensong which featured the choir and = organ of Norwich Cathedral. It's always a pleasure to hear the various = cathedral and collegiate choirs of England present this wonderful service, and to = hear the organ scholars at their best. The BBC-3 Choral Evensong URL is <A = HREF=3D"http://www.bbc.co.uk/radio3/classical/choral.shtml">BBC - Radio3 Classical Music - Choral Evensong</A> for those of you unfamiliar = with it.   The final hymn sung at this service is a new one to me: "How shall I sing =   that majesty" sung to the tune Coe Fen (by Ken Naylor).   I did a lot of searching for this tune on the internet, but only came up = with the original tune, plus a lot of CDs which feature the Coe Fen tune. It would appear that this tune is a favorite new setting which is being sung = all over the UK. The hymn is from a book called "Praise and Thanksgiving" published by Gresham Books; a search on their website was not helpful.   Does anyone have a copy of this hymn which they could send to me? I would = be very appreciative.   Please reply privately.   Steve Lawson - NYC   --part1_1e9.1e2bd8c.2b7e0bb0_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2 = FAMILY=3D3D"SANSSERIF" FACE=3D =3D3D"Arial" LANG=3D3D"0">Today I listened to BBC's Choral Evensong which = featur=3D ed the choir and organ of Norwich Cathedral.&nbsp; It's always a pleasure = to=3D hear the various cathedral and collegiate choirs of England present this = wo=3D nderful service, and to hear the organ scholars at their best.&nbsp; The = BBC=3D -3 Choral Evensong URL is&nbsp; <A = HREF=3D3D"http://www.bbc.co.uk/radio3/class=3D ical/choral.shtml">BBC - Radio3 Classical Music - Choral Evensong</A> for = th=3D ose of you unfamiliar with it.<BR> <BR> The final hymn sung at this service is a new one to me:&nbsp; "How shall I = s=3D ing that majesty" sung to the tune Coe Fen (by Ken Naylor).&nbsp; <BR> <BR> I did a lot of searching for this tune on the internet, but only came up = wit=3D h the original tune, plus a lot of CDs which feature the Coe Fen = tune.&nbsp;=3D It would appear that this tune is a favorite new setting which is being = sun=3D g all over the UK.&nbsp; The hymn is from a book called "Praise and = Thanksgi=3D ving" published by Gresham Books; a search on their website was not = helpful.=3D &nbsp; <BR> <BR> Does anyone have a copy of this hymn which they could send to me?&nbsp; I = wo=3D uld be very appreciative.<BR> <BR> Please reply privately.<BR> <BR> Steve Lawson - NYC</FONT></HTML>   --part1_1e9.1e2bd8c.2b7e0bb0_boundary--