PipeChat Digest #3536 - Tuesday, March 11, 2003
 
Re: leathered lips question
  by "D. Keith Morgan" <aeolian_skinner@yahoo.com>
TWO OR THREE MANUALS?
  by "D. Keith Morgan" <aeolian_skinner@yahoo.com>
Re: Bach Dupre edition
  by "Del Case" <dcase@puc.edu>
Re: TWO OR THREE MANUALS?
  by "jch" <opus1100@catoe.org>
Kola Owalabi, David Dahl. and Ann Rigler at OHS convention
  by "Malcolm Wechsler" <manderusa@earthlink.net>
Re: TWO OR THREE MANUALS?
  by <Cremona502@cs.com>
Re: TWO OR THREE MANUALS?
  by <Cremona502@cs.com>
Untied Methodists
  by "First Christian Church of Casey, IL" <kzrev@rr1.net>
32' Bombarde
  by "First Christian Church of Casey, IL" <kzrev@rr1.net>
Easter Choral Suggestions
  by "David Carter" <davidorganist2002@yahoo.com>
Subject: leathered lips question
  by "Jason M. Taylor" <Jason.M.Taylor@verizon.net>
RE: leathered lips question
  by "Bill Sebring" <baircub@austin.rr.com>
Re: TWO OR THREE MANUALS?
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Benoit and Rohlig
  by "Glenda" <gksjd85@direcway.com>
RE: CC's opinion about Walcker
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Re: TWO OR THREE MANUALS?
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Re: News of my demise is premature!
  by "Alan Freed" <acfreed0904@earthlink.net>
 

(back) Subject: Re: leathered lips question From: "D. Keith Morgan" <aeolian_skinner@yahoo.com> Date: Tue, 11 Mar 2003 13:53:43 -0800 (PST)   Dear Andr=E9s:   The organ is a Wicks organ built in 1949, and is in what was once the Gaston Avenue Baptist Church in Dallas Texas. The church built a new building and now has a 2-manual Allen electronic, and the original building is now the Criswell College. The new church is now the Gaston Oaks Baptist Church.   There are two leather-lipped stops in that organ both of which are metal - the 8' First Open Diapason on the Great which is on 4" wind pressure, and the 8' Stentorphone on the Solo, which is on 8" (?). The high cutups give them a very loud, flutey, sound which is very thick and unsuited to contrapuntal playing. They are also very heavily nicked.   This organ does not have any wooden pipes with leather lips. I have seen such pipes in other organs, mostly theatre organs.   The only thing I've found these stops usable for is for solo playing with the tremolo. They work very well for that, but when it comes to chords, you get a very thick blob of sound in which you can't tell what is going on especially when you are playing anything contrapuntal.   There is also an 8' Doppelfl=F6te in the Great which is a lovely solo stop, but is absolutely useless as a great 8' Flute.   The first time I tuned this organ, it was almost =BD step flat, and all celestes (there are 4) were tuned mostly flat, with some notes tuned sharp. Needless to say, the celestes were totally ineffective. I tuned them sharp (except the Unda Maris), and they are absolutely gorgeous. The Unda Maris pipes are too long to be tuned sharp. The only mixture is in the Swell, and is so soft that you can't hear it, but it has definite possibilities.   This organ has Wicks' direct electric action and does not have leather valres.   Over the years, we have learned more about organs and music, and none of us, including Wicks, build organs to this design -- high wind pressures, heavy nicking, high cutups, heavy metal (lead), large scales, etc.   The organ care is now entrusted to the local ATOS chapter, and they want to make a theatre organ out of it, so I doubt if anything worthwhile will be done to it.   Over the years, I have heard stories about this organ, but it is a typical product of the times. There are some really lovely stops in it, and what I'd like to put in are new principal choruses in the Great, Swell, Choir, and Pedal divisions, move the great 8' Doppelf=F6te to the solo, and get some decent flutes in these divisions, complete with a cornet, and the proper reeds. The fifth manual is the echo division, and this division is about as useful as a 32' Bombarde would be in a Positiv organ, so I'm not going to waste any time or money with the solo and echo divisions.   If I can do what I want, we will have a very nice 3-manual organ. For the time being, we are probably stuck with that 5-manual console.   D. Keith Morgan     --- Andr=E9s G=FCnther <agun@telcel.net.ve> wrote: > Andres Gunther > agun@telcel.net.ve > > Keith Morgan wrote: > > (SNIP) > > It has three 8' Open > > Diapasons in the great; the First 8' Open Diapason > has > > leathered lips and is cut unbelievably high. > > I heard about this system but never saw or heard one > "live". Questions: > > *How did it influence the pipe sound?- What effect > was achieved? > *On which stops was it used? > *Only on metal or on wood pipes too? > *Was it for high or normal wind pressure? (the high > cuts here suggests it > was for high...) > *When and where was it built or used? (Is it a > typical american system or > was it spreaded in other countries too?) > *What kind of leather was used? > > Private responses would be great, but perhaps other > list members may be > interested too... > > Thanx in advance > Andres > > > > > "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 >       __________________________________________________ Do you Yahoo!? Yahoo! Web Hosting - establish your business online http://webhosting.yahoo.com  
(back) Subject: TWO OR THREE MANUALS? From: "D. Keith Morgan" <aeolian_skinner@yahoo.com> Date: Tue, 11 Mar 2003 14:03:09 -0800 (PST)   Everyone is right about being able to play classic literature on a Wurlitzer Theatre Organ. You have the same keys on the manuals and pedals to play the notes.   You can also play Chopin on a harpsichord.   What I was getting at is that in order to make certain pieces come off like they were intended to sound, a certain thoughtfulness of design is called for.   When you play a piece in any particular church, you have to play what is there. If they have a Hammond organ with a Lesbian speaker, you're on your own to make Couperin, deGrigny, or Bach sound as good as you can make it.   D. Keith Morgan   __________________________________________________ Do you Yahoo!? Yahoo! Web Hosting - establish your business online http://webhosting.yahoo.com  
(back) Subject: Re: Bach Dupre edition From: "Del Case" <dcase@puc.edu> Date: Tue, 11 Mar 2003 14:19:04 -0700       Andr=E9s G=FCnther wrote: > fourth because *yawn!*, I saw come and go too much > tendencies in organ playing to be impressed by another change even when= it's > claimed as "historic accurate" (?)- in ten years it will be outdated to= o! >=20 > I know renowned organ instructors who tell their students to use Dupre = for > study purposes. For everybody who is interested in using Dupre's Bach > edition my advise is to read *carefully* the forewords because Dupre's > articulation signs are non orthodox (no ties, dots or commas) but his > instructions are very precise. If you follow them a beautiful articulat= ion > comes out. What you never should follow is the given registration- out = of > average and unaccurate kept it sounds horrible. >=20   Sorry Andres, but I must respectfully and vigorously disagree.=20 Following=20 Dupre's instructions and fingerings will only result in a deadly, dull, b= oring unstylistic performance. Baroque music is based on dance. The organ mus= ic of Bach should dance. With Dupre, it does not. As I said in my previous posting, this edition is what I used for a number of years. Many of the organ method books=20 now available in this country clearly present the differences in technique. Compare the Gleason's early editions of "Method of Organ Playing" with the more recent ones. The shift to "historically informed" has been going on for far more than 10 years. At least 30 for me and it started long before I became aware. The Dupre edition totally ignores the importance of the rhythmic structure to the performance. We would be far better off if Dupre had not left his mark as a performance editor.   Please understand that I have profound respect for Dupre the composer and performer. One of my Doctoral recitals was entirely Dupre works. Sadly, I did not learn about performance style until after I finished at the university.   Baroque performance can be brilliant, exciting, energetic, interesting, m= usical, etc., and still respect its historic roots. And, there is no single corr= ect "authentic" way to do it. And for that reason, I avoid the word "authenti= c."   Also, I disagree with your assertion that his total legato style was related to the action of the French organs. Having played some C-Cs I do not find = this relationship. =20   Del W. Case Pacific Union College=20   P.S. I have enjoyed your many informative postings on a wide variety of = topics.  
(back) Subject: Re: TWO OR THREE MANUALS? From: "jch" <opus1100@catoe.org> Date: Tue, 11 Mar 2003 16:19:13 -0600   At 02:03 PM 3/11/03 -0800, you wrote: >Everyone is right about being able to play classic >literature on a Wurlitzer Theatre Organ. You have the >same keys on the manuals and pedals to play the notes.   A 22 rank theatre organ is a healthy sized theatre organ. The small and medium sized theatres had 4 to 15 ranks. The Wonder Mortons were 23 rank organs and the Publix Wurlitzers which many of the bigger theatre had was 20 ranks. The FOX Specials were 36 ranks which is big,,,,only surpassed by =   Radio City and Sanfilippos mega-Wurlitzer.   jch        
(back) Subject: Kola Owalabi, David Dahl. and Ann Rigler at OHS convention From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Tue, 11 Mar 2003 17:33:08 -0500   Dear Friends,   A fact of life for me is the OHS convention, wherever it might be, and whatever it offers. So it was that I had the date for this summer = (beginning June 19th) in central Pennsylvania in my book the moment it was revealed = to us. This is not a matter of obsession, nor of any getting on a sort of bandwagon. It's just a response to the wonderful experience that an OHS convention always is. I hope not to have to miss one any time in the forseeable future.   First, Karl told us that we would hear Bruce Cornely and a three-part = chorus of Beagles presenting a hymn sing. This alone will be worth the trip.   Then we learned that Ken Cowan will play the famous Steinmeyer Organ in Altoona, an instrument I have wanted to hear for many years. Ken is, of course, a legend amongst organists. I hope he will be able to find time to play in OHS conventions forever. I have no doubt that he will always be invited.   Today's announcement from Karl raises the level yet more. I heard Kola Owalabi play in the semifinal round of the Calgary International Organ Competition in Spivey Hall near Atlanta. He approaches the Organ with a style all his own, a unique kind of lilt difficult to explain any better than that. I thought what he did was really beautiful, and I look forward = to an opportunity of hearing him again. I guess many will have heard him at = the Philadelphia convention, which I was unable to attend. David Dahl played a glorious recital at OHS Chicago last summer, which included a performance = of his own English Suite, which I ordered instantly, and I think many others did as well. I don't know Ann Rigler, but if she is mentioned in the same posting with Kola and David, she must be just fine, and I look forward to hearing her as well.   SO, I hope many reading this will consider attending OHS this summer. If = you have never done it, be not afraid. Every detail is looked after. Your comfort and convenience are considered in every arrangement made = throughout the week. And what a feast of music and instruments, and what a collection of friendly people who share your deep interest in the Pipe Organ.   Sincerely,   Malcolm Wechsler www.mander-organs.com   ----- Original Message ----- From: "MARAUDER" <kmoyer@marauder.millersville.edu> To: <PIPORG-L@listserv.albany.edu> Sent: Tuesday, March 11, 2003 2:42 PM Subject: Kola Owalabi, David Dahl. and Ann Rigler at OHS convention     > Thought you might be intrested: > > Kola Owalabi, Toronto native and master's candidate with Martin Jean at > Yale, will play the untouched 1892 Steere in Bellefonte PA during the = OHS > convention. His program: > > Mendelssohn Sonata No. 3 > > HYMN: "Aus tiefer Not schrei ich zu dir" > > Schumann Canon No. 4 in A-Flat > > Wm. Russell Vonuntary IV > > Owalabi O Give Thanks To the Lord (from his _Portraits from the > Psalms_) > > Owalabi was, of course, runner-up in the national AGO performance > competition last summer at Philadelphia. > > > David Dahl, recently retired from Pacafic Lutheran, will also play in > Bellefonte on a Hook & Hastings at Trinity Untied Methodist Church: > > Buxtehude Pre & Fue in F ( a SPLENDID little piece!!) > > Dahl Concerto Voluntary -- Homage to John Stanley > (Hmm., David, what's this??!!) > > Calvin Hampton: "America, the Beautiful" > > HYMN "America the Beautiful" > > Haydn Allegro in C for Clock Organ > > Grieg The Last Spring > > Dubois Toccata in G (the favorite one) > > Since the churches may not seat the entire convention at one time, each > guy will play twice, with the convention "changing classes" across and > slightly up the street from each other. > > Earlier that day Ann Rigler, June Miller's replacement at Penn State = -- > June has retired :-) -- will play the restored Charles D=FCrner in Boalsburg, > an organ which a long-ago relative of mine caused to be purchased there. > Her program: > > Mendelssohn Prelude in G > > Arthur Foote Canzonetta, Op. 71. No. 4 > > John Knowles Paine Concert Variations on the Austrian Hymn > > And guess what the audience hymn will be with the D=FCrner?? !! :-) > > Cordially, > > Karl E. Moyer > Lancaster PA      
(back) Subject: Re: TWO OR THREE MANUALS? From: <Cremona502@cs.com> Date: Tue, 11 Mar 2003 17:48:01 EST     --part1_1e.c545d51.2b9fc1a1_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 3/11/03 9:53:14 AM Eastern Standard Time, cmys13085@yahoo.co.uk writes:     > Well I once managed the William Tell Overture on a > Wurlitzer with but 22 ranks. >   Wow! 22 ranks.... that's huge... must've had, what, four? five = manuals? heeheehee   Bruce, with Miles, Molly and Degui in the Muttastery at Howling Acres http://members.tripod.com/Brucon502     --part1_1e.c545d51.2b9fc1a1_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2>In a message dated = 3/11/0=3D 3 9:53:14 AM Eastern Standard Time, cmys13085@yahoo.co.uk writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-=3D LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Well I once managed the = Wil=3D liam Tell Overture on a <BR>Wurlitzer with but 22 ranks. <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D3 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"> <BR>Wow! &nbsp;&nbsp;&nbsp;22 ranks.... &nbsp;that's huge... must've had, = wh=3D at, four? &nbsp;five manuals? &nbsp;&nbsp;heeheehee <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_1e.c545d51.2b9fc1a1_boundary--  
(back) Subject: Re: TWO OR THREE MANUALS? From: <Cremona502@cs.com> Date: Tue, 11 Mar 2003 17:49:32 EST     --part1_15d.1cfed7ba.2b9fc1fc_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 3/11/03 9:57:35 AM Eastern Standard Time, aeolian_skinner@yahoo.com writes:     > Try playing a trio sonata on a 22-rank Wurlitzer. >   Ah... that's easy.   I - Tibia II - Kinura Ped - Cello   Tremolo II   ;-)   Bruce, with Miles, Molly and Degui in the Muttastery at Howling Acres http://members.tripod.com/Brucon502     --part1_15d.1cfed7ba.2b9fc1fc_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2>In a message dated = 3/11/0=3D 3 9:57:35 AM Eastern Standard Time, aeolian_skinner@yahoo.com writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-=3D LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Try playing a trio sonata = o=3D n a 22-rank Wurlitzer. <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D3 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"> <BR>Ah... that's easy. <BR> <BR>I &nbsp;- &nbsp;Tibia <BR>II - &nbsp;&nbsp;Kinura <BR>Ped - Cello <BR> <BR>Tremolo II <BR> <BR>;-) <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_15d.1cfed7ba.2b9fc1fc_boundary--  
(back) Subject: Untied Methodists From: "First Christian Church of Casey, IL" <kzrev@rr1.net> Date: Tue, 11 Mar 2003 16:54:16 -0600   I thought perhaps it was really at the Prince of "Peach" Lutheran = Church!!!   Dennis Steckley _______________   My apolgoies to all persons of United Methodist persuasion: I really = do know that it's NOT the "Untied Methodist church." Mea culpa.!!        
(back) Subject: 32' Bombarde From: "First Christian Church of Casey, IL" <kzrev@rr1.net> Date: Tue, 11 Mar 2003 16:55:15 -0600   Be still my beating heart!   Dennis Steckley _______________ about as useful as a 32' Bombarde would be in a Positiv organ,    
(back) Subject: Easter Choral Suggestions From: "David Carter" <davidorganist2002@yahoo.com> Date: Tue, 11 Mar 2003 15:30:29 -0800 (PST)   Dear List Members: As some of you know, I am organist/choir director in an LDS congregation = in Sacramento. I'm looking for a low-to-moderate difficulty SAB or SATB arrangement of either = "Christ The Lord is Risen Today," or "He is Risen." Please include a source if you have one, = so I can order it quick, since there is relatively little time until Easter.   Perhaps a private reply would be in order, so as not to waste precious = bandwidth. I can summarize the suggestions and post them back to the list.     David Carter In sunny Sacramento   P.S. I often have difficulty keeping folks coming to choir, so I've had to = resort to bribery. Here's the announcement for this coming Sunday bulletin: Come to Choir! Come and be inspired by spiritual stories that demonstrate = the power that sacred music can have in one's life. Come and have some brownies, to acknowledge = the power that chocolate can have in one's life. Oh, and while you're at it, learn and sing some = great music for Easter!   __________________________________________________ Do you Yahoo!? Yahoo! Web Hosting - establish your business online http://webhosting.yahoo.com  
(back) Subject: Subject: leathered lips question From: "Jason M. Taylor" <Jason.M.Taylor@verizon.net> Date: Tue, 11 Mar 2003 19:10:56 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0057_01C2E801.F1954C60 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   > leathered lips and is cut unbelievably high... Questions:   * How did it influence the pipe sound?- What effect was achieved?   To a similar question, Mr. Al Sefl, who I consider one of the most =3D knowledgeable pipe organ technical experts I know replied:   "The leather lips are not critical and their function is to add =3D thickness to the upper lip of the Diapason (or Tibia, etc.) to reduce =3D harmonic content. They make the pipes dull and lifeless for the most =3D part...."   * Only on metal or on wood pipes too? Both - some Tibias and Diapasons.   * What kind of leather was used?   The leathered pipes on the organ I service is very thin and smooth on =3D the outside.   Of course, both Al and I service theatre organs, which probably don't =3D play anything worthwhile anyway.   Jay Taylor=3D20   ------=3D_NextPart_000_0057_01C2E801.F1954C60 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D charset=3D3Diso-8859-1"> <META content=3D3D"MSHTML 5.50.4807.2300" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT face=3D3DArial size=3D3D2><FONT face=3D3D"Times New Roman" =3D size=3D3D3>&gt; leathered=3D20 lips and is cut unbelievably high...<BR>Questions:<BR><BR>* How did it =3D influence=3D20 the pipe sound?- What effect was achieved?<BR></FONT><BR>To a similar =3D question,=3D20 Mr. Al Sefl, who I consider one of the most knowledgeable pipe organ =3D technical=3D20 experts I know replied:</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>"</FONT><FONT face=3D3DArial = size=3D3D2>The =3D leather lips=3D20 are not critical and their function is to add thickness to the upper lip = =3D of the=3D20 Diapason (or Tibia, etc.) to reduce harmonic content. &nbsp;They make =3D the pipes=3D20 dull and lifeless for the most part...."</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV>* Only on metal or on wood pipes too?<BR><FONT face=3D3DArial =3D size=3D3D2>Both=3D20 -&nbsp;some Tibias and Diapasons.</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2><FONT face=3D3D"Times New Roman" =3D size=3D3D3>* What kind of=3D20 leather was used?</FONT><BR></FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>The leathered pipes&nbsp;on the organ = I =3D service is=3D20 very thin and smooth on the outside.</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Of course, both Al and I service =3D theatre organs,=3D20 which probably don't play anything worthwhile anyway.</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Jay =3D Taylor</FONT>&nbsp;</DIV></BODY></HTML>   ------=3D_NextPart_000_0057_01C2E801.F1954C60--      
(back) Subject: RE: leathered lips question From: "Bill Sebring" <baircub@austin.rr.com> Date: Tue, 11 Mar 2003 18:30:06 -0600   I was about to say "leathered lips?, try more chapstick." but I digress.= ...I will, however be interested to learn more about this. Hopefully you all don't mind any humorous input from me. just checking to make sure variou= s senses of humor are still working. >:-{)}   -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org]On Behalf Of Andr=E9s G=FCnther Sent: Tuesday, March 11, 2003 1:03 PM To: PipeChat; piporg-l@listserv.albany.edu Subject: leathered lips question     Andres Gunther agun@telcel.net.ve   Keith Morgan wrote:   (SNIP) > It has three 8' Open > Diapasons in the great; the First 8' Open Diapason has > leathered lips and is cut unbelievably high.   I heard about this system but never saw or heard one "live". Questions:   *How did it influence the pipe sound?- What effect was achieved? *On which stops was it used? *Only on metal or on wood pipes too? *Was it for high or normal wind pressure? (the high cuts here suggests it was for high...) *When and where was it built or used? (Is it a typical american system or was it spreaded in other countries too?) *What kind of leather was used?   Private responses would be great, but perhaps other list members may be interested too...   Thanx in advance Andres         "Pipe Up and Be Heard!" PipeChat: A discussion List for pipe/digital organs & related topics HOMEPAGE : http://www.pipechat.org List: mailto:pipechat@pipechat.org Administration: mailto:admin@pipechat.org Subscribe/Unsubscribe: mailto:requests@pipechat.org        
(back) Subject: Re: TWO OR THREE MANUALS? From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Wed, 12 Mar 2003 00:55:13 +0000 (GMT)   Hello,   We have some wonderfully robust lesbian speakers in the UK, but they are definitely not invited members of the Rotary Club!   Regards,   Colin Mitchell UK     D.Keith Morgan wrote:-   > If they have a Hammond > organ with a Lesbian speaker, you're on your own to > make Couperin, deGrigny, or Bach sound as good as > you > can make it.     __________________________________________________ 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: Benoit and Rohlig From: "Glenda" <gksjd85@direcway.com> Date: Tue, 11 Mar 2003 18:56:18 -0600   Speaking of Benoit, does anyone have his "Pieces d'orgue" that he/she would consider parting with for a reasonable sum of filthy lucre? I've been informed that it is permanently out of print. I'm not sure to whom to reply for copying privileges, inasmuch as I don't have the publisher.   I am also looking for Harald Rohlig's "Music for Sunday Morning, Volume 6: Prelude, Voluntary, Postlude", published by Concordia? I know it is permanently out of print, and as we speak I am trying to obtain copying privileges.   Thanks,   Glenda Sutton gksjd85@direcway.com        
(back) Subject: RE: CC's opinion about Walcker From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Wed, 12 Mar 2003 01:15:47 +0000 (GMT)   Hello,   Many thanks to Andres for the additional information, which is especially interesting to me in my study of Schulze.   One thing which always fascinates me about Cavaille-Coll is the whole "concept" of the French Symphonic instrument he designed, more or less single-handedly.   I mentioned that Cavaille-Coll "possibly" didn't understand German music, but I also know that he didn't understand French Symphonic organ-music. In fact, he made it possible!   We all know of his links to Spanish Instruments and, I believe, a pre-romantic organ which has many of the features of an early Cavaille-Coll instrument. We also know of his genius as a reed-voicer and his work with harmoniums at an early age. We also know of his first hand knowledge of organs by Cliquot.   What we can never know, is the thought process and genius which strung so many ideas together, to produce a wholly new style of instrument which changed organ-music forever.   In spite of the musical shortcomings of the French Symphonic organ, the French master really WAS a remarkable phenomena at a very young age indeed.   Finally, no-one has yet come up with the answer as to who designed the Harmonic Bridge. I believe the answer is Gavioli, the Fair Organ maker, but I cannot remember why or how I know this.   Thinking caps on!   Regards,   Colin Mitchell UK         --- Andr=E9s G=FCnther <agun@telcel.net.ve> wrote: >     > Merklin worked for Walcker before he became > independent. Perhaps he > developed these systems while he was employee at the > Walcker factory. >       __________________________________________________ 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: Re: TWO OR THREE MANUALS? From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Wed, 12 Mar 2003 01:20:28 +0000 (GMT)   Hello,   No, no, no!   The use of the Tibia and Tremolo is particularly vulgar and stylistically incorrect.   Whatever next?   Swell shades?   Regards,   Colin Mitchell UK     --- Cremona502@cs.com wrote: : > > > > Try playing a trio sonata on a 22-rank Wurlitzer. > > > > Ah... that's easy. > > I - Tibia > II - Kinura > Ped - Cello > > Tremolo II     __________________________________________________ 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: Re: News of my demise is premature! From: "Alan Freed" <acfreed0904@earthlink.net> Date: Tue, 11 Mar 2003 20:38:34 -0500   On 3/10/03 6:55 PM, "Colin Mitchell" <cmys13085@yahoo.co.uk> wrote:   > Following the death of my Mother during the past > week.....not unexpected.....   Colin:   My condolences. I look forward to your return.   Alan