PipeChat Digest #3508 - Saturday, March 1, 2003
Business trips and organs, Part 1
  by "Glenda" <gksjd85@scti.net>
Re: The Churches and Young People
  by <RonSeverin@aol.com>
Re: The Churches and Young People
  by <quilisma@socal.rr.com>
Irish Organ Music
  by "Richard Jordan" <mail@gesangbuch.org>
Re:  The Churches and Young People
  by "Beau Surratt" <Beau.Surratt@theatreorgans.com>
Felix at the ACCHOS 7 manual console
  by <Wuxuzusu@aol.com>
Blackburn Cathedral re-build/spec (part 4)
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Blackburn Cathedral re-build/spec (Part 5 conclusion)
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Churches and young people
  by "Glenda" <gksjd85@scti.net>
Re: Churches and young people
  by <quilisma@socal.rr.com>

(back) Subject: Business trips and organs, Part 1 From: "Glenda" <gksjd85@scti.net> Date: Sat, 1 Mar 2003 11:49:15 -0600   WANTED: Ambassadors for the organ     After reading Stephen Roberts' wonderful account of his Paris adventures, I am ashamed to proffer my feeble offerings. However, in an effort to keep my writing skills from completely sliding (skills I may need inasmuch as I am being pulled against my will into doing some appellate work, which requires a completely different style of writing), I thought I would share the organic aspects of my business trip back in January (not nearly as exotic as Paris, to be sure).   I was required to monitor a training session for our newly hired attorneys held in uptown Orlando this past week. Because I had not driven to or in Orlando since 1994, during the demise of the old orange groves on the Turnpike, and because I decided to include some organ adventures, I decided not to fly down - ah, the joys of having your car, or so I thought.   During my trip down, I listened to a CD of the choir of Westminster Abbey under Martin Neary, and thought of Malcolm Wechler's ecstacy at the Peachtree Road UMC, Atlanta, organ dedication during the performance of Parry's "I was glad". I was so inspired that I called up Lois Fyfe on my cell phone and ordered some organ and choral music.   Then a mild disaster struck. Two miles east of Live Oak I had a flat tire on the interstate. I called AAA, and was told it would be 45 minutes before help arrived. I had made an appointment to meet Alan Morrison at Rollins College at 4:00 pm ET, and was dismayed that I might miss it. However, the mechanic showed up in ten minutes, installed my brand new spare, told me that my tire could be easily repaired anywhere, and had me back on the road quickly.   I had called Rollins College right after New Year's Day, just to see if I could get in the chapel to see the Knowles Memorial Organ, never hoping to be so lucky. The next thing I knew, Alan Morrison himself had called me back, and we set a date.   Because I was behind schedule and trying not to miss that appointment, I drove like a bat out of hell through Gainesville, Ocala, and Wildwood, through the Turnpike to I-4, and was walking into the chapel at 4:00 (having parked my car in an unpermitted place with prayers for its remaining there unmolested). Professor Morrison was finishing up a lesson there, so I had a few minutes to meander around admiring the Spanish design and architecture, and to find the restroom and restore my lipstick.   Quite frankly this was the highlight of my entire trip. Morrison was very informative about the history of the 1932 (listed as 1931 in the archives) E.M. Skinner renovated in 1952 at the behest of Catharine Crozier, and again recently (and I have forgotten by whom out of Tennessee, but the name was not unknown and will probably come to me). He painstakingly exhibited the remaining original stops and those added during each rebuild, and played some Widor (from the Sixth Symphony, my favorite Widor) and what else I cannot remember (I knew what it was at the time, but because of subsequent events and the lack of notes taken I cannot recall now). Then he invited me to play, and left me alone with the console for probably an hour.   The stops' sounds were lovely and complementary. The original organ itself had been buried above the right choir (similarly to the design of the St. Thomas NYC Skinner), but was brought forward slightly during the rebuild. A positiv was cantilevered in front of the swell and original facade pipes, and an antiphonal had been installed in the rear gallery flanking a lovely window. The sound drops off significantly about the middle of the nave, which is apparently an improvement from its previous effect. The console is new, a lovely 3-manual setting. As of this writing I still do not have a stoplist available, but one is on the way, and because of the passage of time I dare not trust my memory to comment on individual stops. (Felix Hell played this organ in recital last year.)   After I had put up music and shoes and was still at the console examining the sounds, Morrison returned. We discussed the greater accessibility to a larger repertoire provided by the organ now, particularly French works, and the fact that the sound still was not ideal. Apparently the best seat in the house for listening to the organ is in the right side gallery between the organ and antiphonal.   Professor Morrison stayed talking with me for about another hour, a most interesting conversation, even though he had just flown in from a recital in California the day before, and was flying out the next morning to Philly. He graciously offered a key for anytime I should be in town, and was so outgoing and helpful that I could not help but fall in love. I thanked him and reluctantly headed for my hotel.   But not before he had presented me with a CD that I had tried unsuccessfully to obtain last year, of a live performance at Spivey Hall (1994 ACA of Atlanta). The program:   Pageant - Sowerby Trio Sonata IV - Bach Andante sostenuto from Symphonie Gothique - Widor Finale from Symphonie VI - Vierne Voyage: A fantasy for organ - Locklair Suite on "No, not one" - Jon Spong The Star Spangled Banner, Concert Variations - Buck Gitanerias - Ernesto Lecuona   This was a surprisingly riveting recital, each piece exhibiting the fire and ice that I always desire when I attend a performance, even though the program at first glance did not include what I would have guessed was material appealing to me. I listened to the CD three or more times on the way home - I just could not bear to remove the CD.   I was unable to obtain a stoplist at the time, because it was dark and I did not know which building was the library, where a brochure with information on the organ is sold. Professor Morrison looked around for a copy, but was unable to lay his hands on it.   More (although not more exciting) later, and an inkling of why I entitled this piece thusly.   Glenda Sutton        
(back) Subject: Re: The Churches and Young People From: <RonSeverin@aol.com> Date: Sat, 1 Mar 2003 12:58:29 EST     --part1_161.1ca120a3.2b924ec5_boundary Content-Type: text/plain; charset=3D"ISO-8859-1" Content-Transfer-Encoding: quoted-printable   Hi Josh:   I'll bet it was a committee of one or two old biddies who do this kind of stuff. Makes one wonder if Christian principals have failed them. Well, there's always one or two who put a quarter in the collection plate since 1942 and still think it's 15=3DA2 too much.=3D20 Sounds to me like a strange thing for them to get upset about, a change in a calendar format? Too much time on their hands perhaps. My remarks were about worship music style and=3D20 the youth's reaction to it. I for one would have a hard time coping with a feisty group like that, and I'm 60+. If you are there long enough, everyone will expect the next guy to do it just like=3D20 you did, and so it goes in the church country club. :)   Ron   --part1_161.1ca120a3.2b924ec5_boundary Content-Type: text/html; charset=3D"ISO-8859-1" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2 = FAMILY=3D3D"SANSSERIF" FACE=3D =3D3D"Arial" LANG=3D3D"0">Hi Josh:<BR> <BR> I'll bet it was a committee of one or two old biddies who do this<BR> kind of stuff. Makes one wonder if Christian principals have failed<BR> them. Well, there's always one or two who put a quarter in the<BR> collection plate since 1942 and still think it's 15=3DA2 too much. <BR> Sounds to me like a strange thing for them to get upset about,<BR> a change in a calendar format? Too much time on their hands<BR> perhaps. My remarks were about worship music style and <BR> the youth's reaction to it. I for one would have a hard time<BR> coping with a feisty group like that, and I'm 60+. If you are there<BR> long enough, everyone will expect the next guy to do it just like <BR> you did, and so it goes in the church country club. :)<BR> <BR> Ron</FONT></HTML>   --part1_161.1ca120a3.2b924ec5_boundary--  
(back) Subject: Re: The Churches and Young People From: <quilisma@socal.rr.com> Date: Sat, 01 Mar 2003 11:31:36 -0800   If it's not a matter of faith or morals, LEAVE IT ALONE (grin).   I recently had occasion to preach QUITE a sermon about that to a group in our church ... they were grousing about the "old folks".   "Those 'old folks' struck out in faith twenty years ago and founded this church in Dan's LIVING ROOM. They left EVERYTHING they knew and loved in the Episcopal Church to do it. They have borne the heat of the day; they have been the good and faithful servants; LEAVE THEM ALONE. They'll be gone soon enough. In the meantime, HONOUR them, RESPECT them, DEFER to them, LISTEN to their WISDOM, and KEEP THEM HAPPY. THEY built you this beautiful new church; THAT'S their legacy, along with a legacy of FAITHFULNESS in ALL things. Someday YOU'LL be old too; maybe THEN you'll understand."   Having lived long enough to have been both a fire-breathing youngster out to change the world AND a decrepit senior citizen (grin), I understand your frustrations.   Um ... here's a thing: OUTLIVING your opposition is the best revenge (grin). *I* have (chuckle).   IF you DON'T have the support of a majority of your congregation, again, unless it involves faith or morals, you probably shouldn't be DOING it.   Would to GOD that RC and Episcopal priests and bishops had paid attention to THAT before they DEMOLISHED the liturgy and the music in the 1960s. NOTHING good has come of it; the Episcopal Church lost half of its membership; Mass attendance in the RC church is down to 30% in the U.S., EXCEPT in those parishes that celebrate the traditional Latin Mass. The lack of PASTORAL concern in the revisions was APPALLING.   I will be BURIED to the same Prayer Book I was BAPTIZED with ... there IS something to be said for CONTINUITY ... that's why they call us "continuing" Anglicans (grin). I've already told my family that if by some chance they should summon a Rite II ECUSA priest to my deathbed, they might as well save him the trip (chuckle), 'cause I'll turn my face to the wall and make my peace with God WITHOUT *his* assistance (grin).   NEVER, EVER underestimate the power of tradition, whether in small things or large. People will get to heaven just as well with the OLD version of your weekly calendar, Joshua (chuckle). If it makes them happy, restore it.   My rector (he's 40, I'm 58) DESPISES the traditional Victorian Anglican hymns ... we sing 'em anyway. People come up to me after Mass with TEARS in their eyes to thank me for singing them. Subjective? Pietistic? SURE! But nobody ever walked to the parking lot whistling the SERMON (grin). I ALWAYS choose an upbeat warhorse for the Recessional Hymn ... THAT'S what they're gonna remember (chuckle). In trade, we get to sing all the Gregorian Chant and classical polyphony we want, AS LONG AS we give 'em at LEAST one warhorse per Mass that they can REALLY belt out (grin).   On a more serious note (and I've said this MANY times before), we don't turn decisions about their education or healthcare over to our children, and THAT only involves their minds and bodies. It's the tail wagging the dog to turn decisions about their FAITH over to them ... THAT involves their SOULS.   When I was growing up, nobody (LEAST of all the RECTOR) asked me what I thought of the liturgy and music at St. Paul's Episcopal Church in Winter Haven, Florida. The liturgy was the liturgy; the music was the music, period.   Nor did kids get away with saying, "Aw, church is BORING; I'd rather go water-skiing." The response to THAT (aside from a backside-warming) would be: "As long as you live under MY roof and put your legs under MY table, you WILL go to 9:00 Mass every Sunday; you WILL make your confession once a month; you WILL go to Mass on Holy Days, and THAT'S THAT." End of discussion.   Time out? Give me a break! More like GROUNDING until they were EIGHTEEN (chuckle).   And we survived all that awful "child abuse" with both our backsides AND our faith intact.   I'm not married, but I've raised nine foster kids, so I know what I'm talking about (chuckle).   Cheers,   Bud       Joshua Edwards wrote: > > Ron, > > Us young people, me being 22 and a minister of music, have many years > ahead of us. However, I can yell and scream all I want to about what > is appropriate, but the 60, 70, and 80+ year olds are set in their > ways and want things a certain way. I can back this up by saying that > just recently we changed the format of our calendar in the newsletter > and you would not believe how many angry older folks called the church > secretary and gave her an ear full! It's just awful! How can we be > expected to get anything accomplished without the support of the > majority of the congregation?? > > Joshua Edwards > Bedford, VA > > RonSeverin@aol.com wrote: > > > Well Jim C.: > > > > Start making your feelings known that you are fed up to here > > with all the nonsense. We are depending on you, the young > > to turn things around. Be bold, be honest. What you and Erin > > have said, we have been saying for years, but what do we know? > > Hopefully they'll listen to the youth, otherwise all is lost. Tell > > them to reinstate the great music, the great care and pomp and > > circumstance of majestic worship to God. Most of all pipe organs, > > and choirs to worthily Praise the Lord. Get cracking Jim and Erin, > > we desperately need people like you to make your feelings known. > > They certainly haven't been listening to us. You certainly have our > > support. > > > > Ron Severin > > "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: Irish Organ Music From: "Richard Jordan" <mail@gesangbuch.org> Date: Sat, 01 Mar 2003 13:28:03 -0600   As St. Patricks day is coming, I thought I might begin with an offer a pdf score of the traditional Irish tune Boarderline will be available for free during March at   http://www.onjordansbanks.com/rjo-borderline.pdf   I would ask that if you play it in public, that you'd drop me an email.   afterwards it will return to normal price it is from my 1st book of arrangements of Irish Music The Celtic Organ - (also available from On Jordans Banks Music Publishing) in gratitude for the release of my 2nd volume Celtic Organ 2 - Carolan and the release of my 5th Celtic organ album (today) Carolan's Cottage - Celtic Organ 5 (which is the 2nd of my all Carolan albums) (both are available from On Jordans Banks Music Publishing)   and in an unrelated matter, if anyone would enjoy typing hymns and can read German fractur type please drop me an email or check out www.gesangbuch.org for more info     Regards, Rev. Richard Jordan   http://www.gesangbuch.org  
(back) Subject: Re: The Churches and Young People From: "Beau Surratt" <Beau.Surratt@theatreorgans.com> Date: Sat, 01 Mar 2003 13:33:24 -0600   Hi! Just in passing, in my experience it is people who are between 30 and 50 who really want contemporary music in church. In a previous position, I was required to play for a contemporary service. The youth were rarely in attendance, it was mostly boomers and the older crowd.       Blessings, Beau Surratt, Organist St. Peter's UCC, Elmhurst,IL      
(back) Subject: Felix at the ACCHOS 7 manual console From: <Wuxuzusu@aol.com> Date: Sat, 01 Mar 2003 16:23:10 -0500   Greetings all, I just received my latest ACCHOS newsletter, and on the front cover was a = full color photo of Felix Hell at the seven manual console! Where does he = get that red hair?   This issue is filled with full color photos of the organ including the = reservoir controlling the wind for the 100" Grand Ophiclide.   Musically, Stan Krider  
(back) Subject: Blackburn Cathedral re-build/spec (part 4) From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Sat, 1 Mar 2003 22:07:54 +0000 (GMT)   BLACKBURN CATHEDRAL RE-BUILD (Part 4)     As mentioned previously, inspection work was carried out by Mr Ian Bell (organ consultant)and his report highlighted considerable decay in the winding system and the low voltage electrical systems (transmission) which were living on borrowed time.   The Huddersfield (West Yorkshire) based organ building company, Wood of Huddersfield, had already impressed with their re-building of the organ in Beverley Minster; a superb example of 19th century organ building which incorporates many largely untouched Snetzler ranks. Having maintained the Blackburn organ for a number of years, they proved to be thorough, conscientious and very able. The Cathedral Organist, Richard Tanner, was convinced enough to ensure that the contract for the re-build was awarded to David Wood.   Prior to the signing of a contract, extensive discussions had taken place concerning the deficiciences of the instrument as a vehicle for choral accompaniment; the reasons for which are explained in parts 1- 3 of this report. No-one has ever criticised the Blackburn instrument as a recital instrument, but as a cathedral organ, it lacked breadth and depth of flue tone esepcially.   So it was, that various options were considered, which might include detached divisions, additional ranks, whole new divisions etc etc. However, short of destroying what was already superb, or altering it beyond recognition, all concerned seemed to be in agreement that the Walker organ of 1969 was something very special indeed which demanded infinite respect.   Over a period of time, a scheme emerged, but even this was not without its problems. It was one thing to want more substantial pedal fluework, but quite another thing to find the space for very large pipes; expecially as the instrument almost "floats" from the high walls of the Chancel and Transepts in specially designed galleries. Large wooden pipes would have to be seperate from the main body of the instrument, and would probably look messy.   It was David Briggs (Gloucester Cathedral) who put forward the idea of a digital-electronic addition to the pedal organ, in the form of a variable strength Wood Bass available at 32ft and 16ft pitches.   With the co-designer of the original organ safely back in Blackburn after years working in America, John Bertalot was invited to work on the re-building project.   The tonal changes would amount to absolutely nothing.....the old 1969 Walker organ would remain exactly as it was, save for one or two re-positionings of one or two ranks. Thus, this would be both preservation and re-building, and one which would ensure that the original masterpiece would always be able to stand alone or be taken back to its original condition.   Having decided on this course of action, there remained the problem of foundation tone and one or two useful tonal additions to the instrument, which could be added without detracting in any way from the original.   Oddly enough, a Sub-Octave coupler to the Great Organ was decided upon. At first surprising, it works very well in reality, and produces that gravity of sound associated with the Anglican choral-repertoire.   Next came a tiny masterstroke, by kicking the 1969 Cromorne out of the Swel Box and replacing it with a Hautbois. Thus, in one small move, a second, smaller full Swell was possible, using new octave and sub-unison couplers; a very useful feature for accompaniment of things like Stanford or Parry.   The Posotive organ remained unaltered, save for the addition of a new Cromorne fashioned of Cliquot scales and sounding very convincing in music of the French Baroque.   The old Cromorne (always a bit of a closet Clarinette) would find a new home on a new division; namely the added Solo Organ.   Space had been found just above the Great Organ, for a small soundboard and Solo Box, which made possible this addition. Also made available on this new division, was the en chamade "Imperial Trumpet", which still sits on the opposite side of the chancel with the Positive and Pedal divisions.   The great beauty of the Solo division is the addition of French Harmonic Flutes and Strings, plus the old "Cromorne" re-named as "Clarinette". Also added, was a new French style Voix Humaine; thus adding those voices so necessary in the performance of French Romantic music.   To be concluded......     __________________________________________________ Do You Yahoo!? Everything you'll ever need on one web page from News and Sport to Email and Music Charts http://uk.my.yahoo.com  
(back) Subject: Blackburn Cathedral re-build/spec (Part 5 conclusion) From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Sat, 1 Mar 2003 22:58:29 +0000 (GMT)   BLACKBURN CATHEDRAL RE-BUILD (Part 5....conclusion)     When the original 1969 Walker instrument was dismantled, a horror story unfolded as the soundboards were inspected. The organ building consultant, Mr Ian Bell, examined the mess and decided that new soundboards were absolutely essential; thus delaying the work considerably.   David Wood procured new soundboards, which meant that one or two ranks could easily be re-sited on the new soundboards to make tuning and maintenance easier.   In this day and age of "Health and Safety" legislation, one of the greatest dangers facing a tuner or technician was the exposed drop from the soundboards; perhaps 40ft onto a hard, marble floor below. Access had always been by ladder....a precarious undertaking at such a height, and especially so when dealing with en chamade reeds fanning out horizontally across the end of the soundboards. Many organ builders lived in real fear when called upon to work on the Blackburn instrument.   Very sensibly, two new Genie hoists have been installed which carry organ technicians to the windchests in complete safety. Additionally, secure ladders have been installed and fall arrest systems incorporated into the re-built instrument.......anyone for sponsored sky diving?   With great skill and dedication, David Wood and his team breathed new life into the instrument; retaining everything of the old instrument and adding quality pipework and craftsmanship.   As the previous Carlo Curley concert report stated, the end result is not just perfect, it is well within the spirit of true restoration....respecting and retaining all that was truly great about this instrument in the first place.   Using traditional materials and craftsmanship, the newly re-built instrument should prove more durable than that which went before.   A triumph in every respect, the organ specification now reads as follows:-   PEDLA ORGAN     Sub Principal 32 (Walker Digital, Penn. USA) Contra Bass 32 Principal 16 Flute Ouverte 16 (Walker Digital) Sub Bass 16 Quintaton (Gt) 16 Grosse Quint 10.2/3 (New pipes) Octave 8 Nachtorn 8 Grosse Tierce 6.2/5 (New pipes) Fifteenth 4 Recorder 4 Spitzflote 2 Mixture 3 - 4 rks 19 (22) 26 29   Serpent 32 Posaune 16 Bombarde 8 Schalmei 4   Solo to Pedal Swell to Pedal Great to Pedal Posotive to Pedal   Pedal Forte (Digital stops crescendo @ 5 levels)   Transpet Swell on Pedal Generals on Swell Toe Pistons   Gt & Ped Combinations coupled       SWELL ORGAN ("T" denotes Transept Box)     Rohrflote 8 Viola da Gamba 8 "T" Celeste (GG) 8 "T" Principal 4 Nasonflote 4 Nazard 2.2/3 Gemshorn 2 Octavin 1 Mixture 3 rks   12 19 22   Cymbale 3 rks   29 33 36   Fagot 16 "T" Trompette 8 "T" Hautbois 8 "T" Clairon 4 "T"   Cymblestern "T" (new)   Chancel Swell Tremulant Transept Swell Tremulant   Transept Swell Octave Transept Swell Unison Off Transept Swell Sub Octave   Chancel Swell Sub Octave   Solo to Swell     GREAT ORGAN     Quintaton 16 Principal 8 Stopped Diapason 8 Octave 4 Rohrflote 4 Nazard 2.2/3 Fifteenth 2 (New pipes) Blockflote 2 Tierce 1.3/5 Fourniture 3 rks 15 19 22 Plain Jeu 3 rks 22 26 29 Trumpet 8   Great Tremulant Great Sub Octave Solo to Great Swell to Great Posotive to Great     SOLO ORGAN (Enclosed new division)     Flute Harmonique 8 Viola 8 Viola Celeste (AA) 8 Flute Octaviante 4 Clarinette 8 (formerly Swell Cromorne) Voix Humaine 8   Imperial Trumpet 8 (formerly on Posotive) (en chamade)   Solo Tremulant Solo Octave Solo Unison Off Solo Sub Octave   Transept Swell on Solo     POSOTIVE ORGAN     Bourdon 8 Prestant 4 Koppelflote 4 Principal 2 Sesquialtera 2 rks 12 17 Larigot 1.1/3 Scharf 3 rks 26 29 33 Holzregal 16 Cromorne 8 (New - Cliquot style)   Posotive Tremulant Solo to Posotive Swell to Posotive Transept Swell to Posotive     New 4-manual console made in the workshops of David Wood (Huddersfield)   3 swell pedals controlling both Swell divisions and the new Solo Organ.   8 thumb pistons to all divisions 8 toe pistons to Pedal Organ 8 general thumb pistons (duplicated by toe pistons)   Variable speed tremulants   128 memory levels for General Pistons 16 memory levels for divisional pistons Stepper control     AND FINALLY.....a question     Is this a better organ for French Music than any Cavaille-Coll instrument? (It is also good for Bach!)   Go hear it....make a pilgrimage and then judge for yourselves.   If the answer is "Non", then there is a small Cavaille-Coll organ at another church in Blackburn!           __________________________________________________ Do You Yahoo!? Everything you'll ever need on one web page from News and Sport to Email and Music Charts http://uk.my.yahoo.com  
(back) Subject: Churches and young people From: "Glenda" <gksjd85@scti.net> Date: Sat, 1 Mar 2003 18:22:01 -0600   My experience agrees with Beau - those that seem to want contemporary music in church are those that didn't get it or enough of it as children and teenagers. I enjoyed contemporary music (as opposed to what I call praise music - the singing of psalms or Bible verses to set melodies) when playing piano for a youth choir when I was in college - it was good exercise in syncopation, various jazz styles and sight-reading.   When (as I was leaving St. A's) the priest informed me he was having a Saturday guitar mass, my thoughts were, "For whom? Who is coming?" He thought that he could attract teenagers. I told him that teenagers today wanted ski trips like those offered by First Presbyterian, not contemporary or praise music.   Most ministers' mottos seem to embrace pleasing those that pay the bills. The 30-50 year olds seem to enjoy modernity most. My boss goes to a modern Episcopal church and is taking drum lessons so that she can play in church - right now they only let her act as a back-up singer. I told her I would host her in concert once she got the drum solo down to Inna-Godda-da-vida (for the life of me I don't know if that is spelled right, but remember my husband playing it years ago when we dated).   Sometimes we react against what we were raised with, and sometimes we want things to remain the same; many times our tastes are molded in those early years. I grew up with Southern Baptist and gospel music, played contemporary with the kids, and am now happy with traditional liturgical fare. I was influenced by my college piano teacher, who hated country and praise music. In my twenties I would have gone for some good jazz and blues in church, but it didn't materialize. And Stevie Ray Vaughn and Jimi Hendrix were decidedly considered devil's music.   Go figure - just don't be singing Kum-ba-ya at my funeral. I have a personal disgust for that one that transcends traditional vs. contemporary snobbishness.   Glenda Sutton      
(back) Subject: Re: Churches and young people From: <quilisma@socal.rr.com> Date: Sat, 01 Mar 2003 16:35:25 -0800       Glenda wrote: > > > Sometimes we react against what we were raised with, and sometimes we > want things to remain the same; many times our tastes are molded in > those early years. I grew up with Southern Baptist and gospel music, > played contemporary with the kids, and am now happy with traditional > liturgical fare.   I never reacted against the Gospel hymns of my Southern childhood; we just sing 'em during communion at Mass (grin). They LUV "The Old Rugged Crucifix" (sic) (chuckle).   Cheers,   Bud