PipeChat Digest #3812 - Saturday, July 12, 2003
 
OHS 2003 - 2nd Full Day - 6/21
  by "Malcolm Wechsler" <manderusa@earthlink.net>
Re: THE Wedding
  by <ContraReed@aol.com>
Re: THE Wedding
  by <Keys4bach@aol.com>
 

(back) Subject: OHS 2003 - 2nd Full Day - 6/21 From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Sat, 12 Jul 2003 14:07:10 -0400   OHS 2003, 2nd Full Day - 6/21   Justin Hartz, Saturday, June 21st St. James Presbyterian Church, Mechanicsburg, PA   We began this day with a short bus ride to Mechanicsburg, not long enough to let some of us catch a bit more sleep. Our opening concert of the convention, you will remember, was in a modern Roman Catholic Church with a remarkably effective E. W. Lane instrument of 1902, an old Organ that projected quite well into a not-so-lively acoustic. This morning, we are in the quite modern St. James Presbyterian Church, the church itself being a large classroom or assembly sort of room, but with something of a raised ceiling, kind of a square dome effect. There is some acoustic to be enjoyed, not a huge amount, but as with Erik Suter's opening recital on Thursday night, we were hearing an old instrument (from sometime around the middle of the 19th century), by William H. Davis, in this case, a single manual with a Pedal Bourdon and coupler. This much-traveled, much troubled instrument, was rebuilt and refurbished by R. J. Brunner & Co. in 1989. The refurbishment included a brand new and very handsome case of simple design. Wow! What projection and richness of sound!   Justin Hartz is Organist and Choir Director at Church of the Incarnation, Morrisville, PA, and also frequently appears at the Aeolian Organ of Longwood Gardens. He's a graduate of Westminster Choir College, with a Master's from The Juilliard, and was once an E. Power Biggs Fellow for the Organ Historical Society. It is a long way from the famously powerful instrument at Longwood to the little seven stop Organ du Jour, but Mr. Hartz treated it with love and respect, giving us a good recital and demonstration in the process.   The first piece came from "American Church Organ Voluntaries (Cutter and Johnson)," and we heard Voluntary No. 29, Andante. Was it by Mr. Cutter, Mr. Johnson, or someone entirely other? - we did not worry about it. It was not one of yer masterpieces, but it did demonstrate the virtues of the instrument quite well. We heard alone the 8' Open. What a lovely sound and a fulfilling projection. This glorified classroom of a church did not get in the way.   Here followed the quintessential manualiter work, <Wie schoen leuchtet der Morgenstern> of Buxtehude. This was wonderfully done, with a brilliant and satisfying allocation of the Organ's few resources.   Next, from "Ryder's Short Voluntaries," we heard Voluntary 25, Moderato. A few recitalists this year (as always) brought us stuff either found in a junk shop, or, more up-to-date, picked up on E-Bay. The idea is, I guess, to try to match the music to the period of the instrument, so one could think that perhaps it might have actually been played on this instrument in those long-gone days. There is lots of stuff out there by solid composers, short pieces of real quality that sparkle and please. I am not sure that Thomas P. Ryder quite fits any of those characteristics. Picky, picky, Malcolm - it's only a short piece, and corny though it be, it continued in showing us the virtues of the Organ well.   The Mozart Andante (K. 616) is a lovely gem of a piece, and Mr. Hartz gave it all the loveliness it deserved. The piece is, well, Mozart, the fluty sounds of the Organ were divine, and the playing beautifully controlled and sensitive. Nice!   The program closed with rather a quick accompaniment to our robust singing of "Praise, my soul, the King of Heaven." I must say, it was great to stand and do something, particularly something pouring warm air into the building. We were more than super air conditioned. I was turning blue! I do take exception to the fact that, with the harmonization provided to us, we were instructed to sing no harmony at all. 1. All in unison, 2. men only, 3. women only, and 4. Unison with the glorious C. S. Lang descant. I am afraid some wiser heads (like mine) disobeyed, and gleefully harmonized wherever and whenever.   This was a fine recital on a worthy little Organ, by a fine Organist who looked like he was having fun, the fun being happily contagious.   Now, back on the buses to warm up a bit, for the short trip to Camp Hill.   Mark Brombaugh, Saturday, June 21, 2003 Peace Church, Camp Hill, Pennsylvania   I hope Mark Brombaugh will always be ready to play at OHS conventions. Each of his recitals is something of a landmark in my memory, and I always find myself noting on my pad: "He restoreth my soul." He's played a wide cross-section of instruments for us over the years, including the big Flentrop in the Duke Chapel a couple of years ago. Today's instrument might be the smallest, but not any less of an instrument. It has a single manual with six stops, built by Conrad Doll in 1805, and lovingly restored by the Noack Organ Company in 1974. It is gentle but it is lovely, and looks down on us from a balcony in a truly beautiful church built in 1799.   Mark has degrees from Oberlin College, the University of Louisville, and Yale University. He is Director of Music at United Church on the Green in New Haven. He is a past national secretary of the O.H.S.   Vincent Lubeck, Praeludium and Fugue in A Minor (Clavier Uebung 1728. What wonderful sounds, so fresh and clean, with playing also so clean and gently driven.   This Organ has what Mark termed a "suicidal music rack." It longed to fall forward, dumping music in the Organist's lap. In New York churches, we have a hazard - the sound of the subway going under us. Here, Mark paused just after the start of the Boehm Partita on the Aria <Jesu du bist allzu schoene,> waiting for a noisy truck to pull away. He quipped, "An Organ for a quieter time." Anyway, even with only six gentle stops, these gentle variations were gently served with variety of gentle sounds. I hope that is sufficiently gentle! About the Sweelinck Toccata in C, I only wrote: "Glorious!" James Woodman (b. 1957) has written some fine sets of variations on familiar hymntunes. We heard today Fairest Lord Jesus (five variations), which really worked well on this small Organ. All subtleties were made perfectly clear. We were well prepared, and after the 5th variation, we instantly sang, with the middle stanza in glorious harmony, thrilling in this building.   Time for the bus, and a fairly long ride to Mount Pleasant Mills, the tedium beguiled a bit by a very nice box lunch we enjoyed on board.   Susan Hegberg, Saturday, June 21st. St. Peter's Lutheran & U. C. C. Church, Freeburg, PA   This recital gets the Bible quote, "it maketh the heart glad." Dr. Susan Hegberg holds degrees from Saint Olaf College, the University of Michigan, and Northwestern University. She is Professor of Music and University Organist at Susquehanna University. In addition to what turned out to be a splendid recital, we were also about to hear one of those good, old Mollers (really!). Those turn-of-the-century Moller trackers (in this case, 1904), were really lovely to hear and to behold, and this Organ was reasonably substantial at 13 stops and two manuals. And, on top of all that happiness, this church greeted us with an unexpected reception, good things to eat and drink, a great kindness. One of the ladies behind the tables said this was Susan's idea, presumably Dr. Hegberg, so more good cheer.   The program began with C. P. E. (or K.P.E. if you prefer) Bach, Sonata in D Major. There are hints in some C. P. E. keyboard works that they might have been actually for Organ. This is a piece that is one of those, and a fine piece it is.   Joe Utterback (a Jazz musician and Organist) lives in our part of the world (Fairfield County, CT), and is a member of our A.G.O. Chapter. We have heard him at the piano in various contexts, often providing music at our dinner meetings. He has a unique style, and a powerful set of fingers! The next piece on the program was one of his, for Organ - "I want Jesus to walk with me." This is a fairly mild Jazz work that would neither shock nor offend. It was written for Susan Hegberg in 2002.   Frank Ferko, of whom we got a strong dose at the Chicago Convention last year, next provided an interesting set of Variations on Leoni. After the Finale (the sixth variation), we cleverly picked up our cue, and began to sing Leoni. Dr. Hegberg had given some thought to how we should do this, and this was fun and also much appreciated. Stanza 1 in Unison, Stanza 2 done in canon at the octave, Women beginning, and men following after four beats. It is sufficient to say that I was proud of us, and proud yet again in the next stanza, which we got to do in parts - gloriously. The last two stanzas were sung in unison, with a varied accompaniment. This was very satisfying to all, and is certainly a model for some of what can be done "at home."   The whole recital was, in fact, a model. The playing was solid throughout, and the program was interesting to all, I am sure. I am also sure that Dr. Moyer was happy about having his wish for contemporary music fulfilled. I hope we can see the name Hegberg at future OHS Conventions.   Back on the bus, headed for Mount Pleasant Mills, a 30 minute journey.   MaryAnn Crugher Balduf, Saturday, June 21st Botschaft ("Grubb's") Lutheran Church, Mount Pleasant Mills, PA   Well, to begin, what's a Botschaft. Well, my Cassell's says it's Tidings, or News, or a Message. I suppose "Tidings" has the most promise as a church name. Improbably enough, Grubb's refers to someone who actually owned the church at one time, but his name was really Kruppe - that is quite a morph. This was a Reformed congregation, but they became quite weak, and in 1934, the Lutherans took over the church, being given the building for $1, which was worth something in those days, but surely not as much as a church. The Organ was built in approximately 1865 by John Marklove of Utica, New York. In 1978, James R. McFarland & Co. accomplished a relocation to this building, the Organ having been discovered by the Organ Clearing House. McFarland also did serious reconstruction and restoration.   MaryAnn Crugher Balduf is an old OHS hand, having played many a convention recital over the years. She has a reputation for presenting interesting programs on single manual instruments, and that is what she got this year (7 stops and a Pedal Bourdon).   She began her program with Processional by Grayston Ives (b. 1948), a really good modern piece, played very securely and well. The Organ did "play out" (run out of wind) at the final chord, sad to say. We next heard a Cornet Voluntary in F, by John Humphries (1707-1730?), an o.k. piece in that genre. The Entrée from the Vierne Messe Basse (opus 30) seemed a bit scrambled and quick to me, but there was still an essential dignity.   Next, the Koraal from Suite Modale (Opus 43) of Flor Peeters, whose 100th birthday we should have celebrated on July 4th. He died in 1986. Next, Andante No. 2 by Henry Stephen Cutler (1825-1902), rather a mix of running figures and chordal sections. Cutler is perhaps more interesting than the piece. He is said to have begun the first surpliced choir of men and boys in the country, at Advent in Boston in 1852. That is no longer a male choir (although they often sound like one), so the mantle of the oldest still in existence goes to All Saints in Worcester, MA, and I don't recall when that was begun. I know all this because when I was at Old St. Paul's in Baltimore, we all knew that the choir at Old St. Paul's was the second oldest, founded in 1873 by John Sebastian Bach Hodges, if you please. You have to trust me: His brother was George Frederick Handel Hodges - I am not making this up, you know. Their father, Edward Hodges, came from England to be Organist at Trinity Church in New York. Forgive this digression, with a subject close to my heart.   Arthur Bird (1856-1923) is another interesting guy, being an American, but one who lived most of his professional life in Berlin. From there, he issued a fair number of compostions for Organ. He was also a journalist who acted as Berlin correspondent for a number of American magazines. This information is from John Henderson, who also lists two references that one might want to follow up, as the piece we heard today was quite interesting. In the strangely named Music/The AGO Magazine, which preceded the present TAO, there is a piece on Bird in the issue of September, 1976. In The Diapason, you can find "The Organ Works of Arthur H. Bird" in the issue of February, 1995. The piece we heard, by the way, was "Improvisato" (Opus 37, No. 6.   From Twenty Four Pieces for Organ, of Jean Langlais, we heard a fine performance of Hommage. Then, also of Langlais, we heard "American Folk-Hymn Settings for Organ," which incorporated five stanzas of Amazing Grace. This nice idea did not entirely work, as we were somehow left a bit uncertain about our entrances, but we muddled through, allowed one verse in harmony.   Not on the printed program but in the program in MaryAnn's mind, there was the Sortie of Theodore Dubois, an exciting finale to an interesting recital.   On the bus to Danville, for a ride of approximately one hour.   Michael Britt, Saturday, June 21st St. Paul's-Emmanuel U. M. C., Danville, PA   Heretofore, on this day, the convention had been divided in two, but before we heard Michael Britt's fine recital, we were all driven to First Baptist Church, where we were reunited with the other half of our convention, and fed a fine dinner. It was then just a short ride to St. Paul's-Emmanuel U. M. C.   Michael Britt is native to Baltimore, and graduated from the Peabody Conservatory. He concertizes as both a "classical" and a theatre Organist, being a frequent performer at the Capitol Theatre in Chambersburg, Pennsylvania. His assigned Organ this week: a really fine 19 stop A. B. Felgemaker organ of 1892, Opus 584. This is a wonderful looking instrument in addition to being distinguished tonally. I wish you could all see the picture in the Organ Handbook.   We were getting close to July 4th, and perhaps thinking patriotic thoughts, welcomed the first piece, an American Rhapsody by Pietro Yon. Michael admitted to paying 50 cents for it in a junk shop, and, I think, by the time it ended, we all agreed that he had got his money's worth - and No More! This was Yon at his most exploitive, a bag full of American patriotic melodies crowned at the end by the Star Spangled Banner, assuring a standing ovation every time! This all sounded ALMOST palatable because of Michael's very strong and confident playing.   Showing Michael's "other side," we had a bit of theater styling, in a piece by Dan Miller (b. 1954) called Count Your Blessings, written in 1993. Then, a very slow, very sweet Hymn Prelude (Opus 38) by Seth Bingham, on the tune "Bethany."   Here followed a World Premiere, a piece commissioned by Michael Britt of Wayne Wold (b. 1954), who teaches Organ at Hood College, but also (Thank you, Karl, for your Hymnal Companion) is Director of Music at Camp David! I have heard about Wayne as a church musician of significance. Well, in my opinion, he is a composer of significance as well. The piece premiered today is a Prelude on "Marching to Zion," a fine work, clearly from our century, not some other, and is totally digestible. The composer was in the audience, and was well cheered by all. He certainly got a good first performance from Michael Britt.   Of course, we next sang "Marching to Zion," a tune written by The Rev. Robert Lowery, who was a pastor just a few miles from where we were singing. (He is Robert Lawry under the hymn in the book, Lowery in the Companion at the back. You choose.) And let it be known that no one should ever complain about any typo or mistrake in either the Organ Handbook or the Hymn Supplement. They are both products of incredible labor, both amazing. No one ever throws either of these books away. Those who labored long and hard are entitled to the precious few problems. Now, about that hymn. The entire convention roared full throat - "We're marching to Zion, beautiful, beautiful Zion; we're marching upward to Zion, the beautiful city of God!" I hope you can imagine it. It was really something, and it would not have been possible without a rather incredible accompaniment from Michael Britt. What a great concert!   For our next venue, no muss, no fuss, no bus, gus. With a police escort, consisting of the entire police force of Danville, all one of them, we walked across the street to Mahoning Presbyterian Church where Bruce Cornely (sans Beagles) made a bit of OHS history. Stay tuned.   Bruce Cornely - Saturday, 21 June - THE HYMN SING Mahoning Presbyterian Church, Danville, PA   I'm not sure this evening's event was a "first," but certainly I don't remember anything quite like it at an OHS convention. It was a Hymn Sing that really was a SING. We hardly stopped, and I don't think I was alone in enjoying just about every minute of it. The whole evening was created and "executed" by Bruce Cornely. He is a long time member of OHS, and is also, along with his three Beagles (don't ask me to say their names), a strong presence on the Pipe Organ lists, a man of sure convictions. He admirably and consistently stands up for them, and some of that came out in this evening's event. He has studied Organ with Ronald Rice at St. Philip's Cathedral, Atlanta; William Weaver at St. Anne's Church, Atlanta; Robert Bennett, St. Luke's U.M.C, Houston; Robert Jones at University of Houston, and William Barnard at Christ Church Cathedral, Houston. He is Organist at First Baptist Church in Gainesville, Florida.   The church was packed with our entire convention and many parishioners. We were well supported by Hook & Hastings Opus 1073 of 1882, a quite powerful 22 stop instrument. Bruce's program shows it as "size number 12," so I presume it is one of the stock design instruments that Hook & Hastings advertised in its catalogues, an interesting compilation of which is published by OHS. The Great has a 16' Bourdon, extended from the 8', a 3 rank Mixture, and a Trumpet. The eight stop Swell contains a Cornopean and a Bassoon/Oboe at 8' pitch. The Pedal has an Open Wood 16', a 16' Bourdon, and an 8' Violoncello. So, the formula is right for accompanying a large congregation - lots of foundations, reeds, and most important, lots of Bass. Bruce varied these resources deftly, with registrations that kept us interested through the entire program.   Because Bruce is such a well-known character on the Internet Organ lists, there was quite a lot of buzz about this event, both before and after. As he said, during the evening, this was his first appearance on the other side of the curtain. Heretofore, he had attended conventions, but had never played. As always, my little antennae were out, listening for reactions. I was surprised to find some that were totally negative, but I did begin to pick up on the fact that at least some of those who really disliked the event apparently knew very few, or none, of the tunes that Bruce chose for inclusion in the event. I guess it depended upon the church tradition from which one sprang. My taste in hymntunes meshes pretty well with Bruce's, and, not trying to sound superior in any way, I knew all but a couple of the tunes we worked with. They are all common to the Episcopal churches which I have served. Having said that, about a dozen of the tunes we sang were actually from The Presbyterian Hymnal, and we used the books from the pews. Most of the tunes known to me were given texts that I did not know, texts in fact, not usually associated with those tunes. Some were interesting to me, and I would like to have noted the authors - I wish now that I had "borrowed" a hymnal from the church (to be returned, of course). I must also say that, despite the few negative comments that I heard, at the actual event, an awful lot of people sang enthusiastically with great strength. That in itself was thrilling, and a sure sign that certainly a vast majority of the people really were enjoying themselves. It also needs to be said that the 17 page booklet we were handed as we entered the church was beautifully organized, and cleverly, too. One could hold the booklet under the hymnal, and with the directions, like unison stanza one, etc., written way over to the left of each sheet, it was possible comfortably to read both the directions and the pages of the hymnal. Anyway, with that said, here is a blow by blow description of what we did.   One premise of this exercise concerned Bruce's well-known dislike of Choral Preludes. I will chastise him to the extent of saying there is a huge amount of great literature in the form, music which I, personally, love a great deal. But, o.k., he finessed the situation of his dislike quite admirably, in choosing Organ pieces that made perfect introductions to the hymns, so, the guy stuck to his beliefs and made a good job of it.   We began with the hymn, "Wind who makes all winds that blow," for which I do not know the author. The tune was "Aberystwyth," which probably WAS one known to people of most if not all denominations. As an introduction to this, Bruce played a Chromatic Fugue by Johann Pachelbel, which seemed to fit well in spirit - and in key. The directions asked, in some places, for us to split stanzas in terms of unison and parts, with perhaps lines 1 and 2 in unison, and 3 and 4 in parts. This was fairly easy to do, as the directions were right there in front of us, over on the left. In this hymn, we also did something in keeping with the history of singing long chorales, with the Organ-only "taking" some of the stanzas. All sang well to Bruce's confidence-building accompaniments. I will make a general comment here, that, at times, we were not given a sufficiently clear direction about where to begin singing after an Organ piece or interlude. This was a minor problem, as we are all terribly clever, but there were hesitations on occasion. I will also omit details of our stanza by stanza directions, unison, harmony, etc. Just assume that they were varied, with a lot of opportunity given to sing the harmonies. Also understand that in many cases, I cannot tell you the names of the authors of the texts, without a Presbyterian hymnal in front of me, so please understand that.   The second hymn: "Bless the Lord, my soul and being," to the lovely Hubert Parry tune, Rustington, a tune probably not known to some in the group, but sung lustily nonetheless. OHS people are, of course, good readers. There was a descant offered in our sheets, for stanza five, the last, and I believe this was one of those places in which we needed a moment's, if not rehearsal, at least explanation. To me, this seemed also to be one of those descants concocted to hit the harmonies right without worrying too much about musical grace and expectations. As far as any rehearsal goes, I am sure that Bruce felt, as one must, that given the choice of going right through, and not elongating the schedule over much, or doing bits of explanation and rehearsal, which could get quite out of hand, choosing the first option was the way to go. We rolled with the punches, and basically, all went smoothly and well, with the few exceptions. I think the ultimate result of all of this might have been more lovely, more competent, had we rehearsed a number of things, but the temptation would be to take lots of time, as needed, and we would never be done, and everyone would be bored out of their gourd. I think the right balance was struck, and if a few things got lost by the wayside, so be it. For me, it seemed a good time was really had by all - or most! For Rustington, we were given four stanzas to sing in parts, and we saw that it was good.   Next was the hymn, "New songs of celebration render," which I can confidently say is by Erik Routley, a paraphrase of Psalm 98. The tune: Rendez a Dieu, attributed to Louis Bourgeois. As introduction, Bruce played No. 29 of "29 Short Preludes," by Carl Nielsen. We did just fine, with lots of harmony offered.   Next, "With joy I heard my friends exclaim" is clearly a paraphrase of Psalm 122. The tune, a great favorite of mine, is "Gonfalon Royal," by Percy Buck, possibly not known to many in the group. As a prelude, Bruce gave us excerpts from "Communion" by Theodore Dubois. Stanza 3, Organ alone (another excerpt from the Dubois). After Stanza 4, we had another Organ interlude (Dubois), in this case not substituting for a verse of the hymn. Stanza 5, with the descant on the facing page. I don't recall if this worked or not, but I think the descant was not a success, with a reasonable number not knowing the tune, which begins on an off beat. Also, the descant hovered around high G a lot, with one big A near the end, possibly not designed for an unrehearsed performance.   Next, "Give praise to the Lord," a paraphrase of Psalm 149, to the great Hubert Parry tune, "Laudate Dominum," the tune that ends with "Happy birthday to you" and is probably known by most. I think we did well.   Next, "Let the whole creation cry." The tune: "Salzburg," probably known to most, music by Jakob Hintze. The treatment was slightly tricky, but given the fact of the directions being handy, it might have worked and been fun, but I don't now recall. Stanza 2, Organ alone, "Chant sans parole," Charles Callahan.   Next, "All praise to God for song God gives." The tune: "Sacred Song." I am at total memory loss for this, without the Presbyterian book (which I did NOT steal). I remember nothing of the tune or the text.   Next, "Called as partners in Christ's service," author unknown to me. The tune Beecher is, perhaps, best known to the text, "There's a wideness in God 's mercy." Who would dare to say they do not know this tune??   Next: "As those of old their first fruits brought", a text by Frank von Christierson (I can tell you), and the tune, "Forest Green," an English folk tune adapted by Ralph Vaughan Williams. For Stanza 2, Bruce played the Choral Prelude (you heard it here!) on "Forest Green," by Richard Purvis.   Next: "The church of Christ in every age," to the lovely tune by William Knapp, "Wareham." We had some harmony to enjoy, and there was a somewhat ungrateful descant on the facing page which I don't think ever really happened. It included among its infelicities a high B.   Next: "We all are one in mission" to that excessively cheerful tune, "Woodbird," a German folk melody, with some adaptation by Hubert Parry.   Then: a quite nice hymn, "In Eden fair," to the tune Aldersgate. Both text and tune are by Bruce Cornely, and I would call them a success in content and in the fact that our gang sang them very well indeed, with descant. No one began with knowledge of this tune, of course. So congratulations are due to us, and to the author and composer.   Bruce found a hymn tacked to a bulletin board in the Zimmer shop, and copied it, and brought it to us today. It is sung to the tune "Pass me not, O Gentle Savior." The words are something else, and had people convulsed at particularly poignant moments. Here's a little sample: "Sing a song by Fannie Crosby, every Sabbath day . . ." and later, "Folk Mass music is atrocious, lacking tune and rhyme, and they've massacred the meter, cramming extra words in all the time." Refrain: "Pastor, pastor, hear my irate cry: When you pick the hymns for Sunday, don't pass Fanny by."   Finally, a somewhat solemn moment in this hymnsing, another tune and text by Bruce Cornely, the tune, "Laufman," in honor of the late Alan Laufman, for so many years director of the Organ Clearing House, and also editor of the yearly Organ Handbooks. This was good, and was well sung by all. One excerpt from the text gives an idea of the mission. From Stanza 2: "We gather in a chapel quaint the gentle sound to hear of pipes once voiced by hands of old, with color rich and clear . . . . "   Amen to all of that. Despite occasional problems in this massive undertaking, I thought it was a really rich and meaningful event, and lots of fun as well. My congratulations to Bruce Cornely - and the Baskerbeagles!   Malcolm Wechsler www.mander-organs.com                
(back) Subject: Re: THE Wedding From: <ContraReed@aol.com> Date: Sat, 12 Jul 2003 14:54:43 EDT   In a message dated 7/12/03 1:24:02 PM Eastern Daylight Time,=20 acfreed0904@earthlink.net writes:   << > I just heard a Johannus Organ recently, and was very impressed with it.= =20 See > if you can find any in the NY region and go listen to it. =20 Well, almost, Lee. That is, I=B9ll keep an eye open for word of one, but =B3finding one=B2 take more time and more physical energy than I=B9ve got l= eft. If one comes to my attention, I=B9ll take a look, if it=B9s close by. Otherwise, I=B9ll let someone younger do the exploring. >>   Rather than go exploring, just contact a Johannus dealer, they'll be able to= =20 tell you exactly where their organs are installed. (I heard a couple of tw= o=20 years ago when we were considering a digital/pipe instrument for my church,=20 and although we were basically quite impressed with the sound of the Johannu= s,=20 we've decided to go the all pipe route for the moment.)   Richard  
(back) Subject: Re: THE Wedding From: <Keys4bach@aol.com> Date: Sat, 12 Jul 2003 15:55:01 EDT   I would love to be impressed with a Johannus too.   let me know where to find one.   dale in Florida