PipeChat Digest #3582 - Monday, March 31, 2003
 
David Higgs at Fisk Presbyterian - Gainesville FL
  by <Cremona502@cs.com>
Re: Off-topic:  in morning
  by "Stanley Lowkis" <nstarfil@attbi.com>
Re: Off-topic:  in mourning
  by "firman1" <firman1@prodigy.net>
Re: "Kilgan" "Rodgers" "Cathedral" "organ"
  by <Cremona502@cs.com>
Re: "Kilgan" "Rodgers" "Cathedral" "organ"
  by "firman1" <firman1@prodigy.net>
Rodgers-Kilgen Controversy explained...
  by <Quentsmith@aol.com>
composition of Swell mixture
  by <quilisma@socal.rr.com>
Prepared stops
  by "Jeff White" <reedstop@prodigy.net>
Re: Rodgers-Kilgen Controversy explained...
  by "Stanley Lowkis" <nstarfil@attbi.com>
 

(back) Subject: David Higgs at Fisk Presbyterian - Gainesville FL From: <Cremona502@cs.com> Date: Sun, 30 Mar 2003 21:36:15 EST     --part1_c5.3273a301.2bb9039f_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit     This afternoon I heard the finest recital I've heard in years!   David Higgs played the new Fisk, Opus 119, at First Presbyterian, = Gainesville FL.   His program was delightful and between the program and the player the = organ was heard to its greatest advantage.   The program:   Fantasy and Fugue in G-minor, BWV 542 ... Johann Sebastian Bach Variations on Mein Junges Leben Hat Ein End ... Johann Pieterszoon Sweelinck Piece Heroique .... Cesar Franck Soliloquy ... David Conte Free Fantasia on "O Zion Haste" and "How Firm a Foundation" ... William Bolcom Bolero de Concert ... Louis-James-Alfred Lefebure-Wely Suite pour Orgue, Opus 5 ... Maurice Durufle Prelude . Sicilienne . Toccata   I preface this commentary by saying that for the second time in my life I took a book to read during a recital. The first time was at the Montreal = OHS convention when the recital was to be the Leipzig Chorales of Bach. Not =   being a CP fan I decided to take a bood to occupy my mind while I simply listened to the beautiful Beckerath organ of Eglise Immaculee-Conception (Montreal). Alas, due to the exquisite organ, unequal temperament and = the sublime playing of Bernard Lagace, I didn't even get through a paragraph. = The second time was today, because I have to finish a novel being = discussed at an author's book club discussion group.   The Fantasy and Fugue in g-minor was played in a very improvisatory = manner. Although it was played on not-quite-full organ throughout, it was very interesting and in parts, due to the combination of flexible winding, = unequal temperament, and exquisite artistry, captivating. The first time the = Fisk temperament, assisted by gently flexible wind, locked into a G-major = chord, I was drawn out of my book. Also capturing my attention was the careful rhythmic flexibility David Higgs used throughout the piece. It was beautifully done. The fugue was, inspite of the broad and full = regisration sounded light and dance-like, again made more enticeing by the winding and =   temperament.   Variations on Mein Junges.... were played very gently and showed the = various colours of the organ. They were soothing and great reading music!! ;-)   Piece Heroique was played in a way I've never heard before, again using = the full resources of the organ and room to greatest advantage. The most startling part was the return to the opening theme toward the end of the piece. The tempo was almost half of what it had been at the beginning. = I was amazed at how exciting this made the entire ending, creating a feeling = of great anticipation and suspense. I would love to study this piece with David Higgs.   Soliloquy, I must confess did not grab my attention and I don't remember hearing it, so I can't say whether I liked it or not. I do remember that = at the conclusion the applause was quite hesitant, most likely due to people = not being sure if it was over or not.   Free Fantasia on "O Zion, Haste" and "How Firm a Foundation" gave the audience an opportunity to see what a great personality David Higgs possesses. His comments were humorous and warm, and he even enticed us = into singing the first couple of phrases of "O Zion, Haste" for those in the audience who might not be familiar with the tune. After the first couple = of phrases our memories ran out of words and resorted to la-la's and we were mercifully let off the hook. The theme of "How Firm a Foundation" was = sung for us by Mr. Higgs! His playing of this piece was really enjoyable and I found myself patting my foot as I read and pausing in parts to concentrate = on the piece rather than my book. I wish these Bolcom preludes were as fun = for me to learn as they are to listen to, but I just haven't been able to get into them as a player.   The Bolero was a real crowd-pleaser and David Higgs to this opportunity to =   extract some very bizzare colours from the reeds of the organ. With a playful carnival feel this piece was great fun, I wanted to "put in = another quarter" and go around again!   The Durufle Suite was magnificently presented and extremely exciting. = Again, aided by the temperament and flexibility of wind and rhythm, all three movements were riveting, and would have been a great conclusion to the program.   However, after a standing ovation, we were presented with one of the = silliest preludes I've ever heard. Prelude in E-flat by Johann Kittel (sp?) was enough to get a giggle out of Mozart. Written in delightful "clock = piece" style with fanciful PDQ Mozart "toots" and chromatic funnies sprinkled througout, it was a piece that could have been whistled on the way to car except for the tendency to giggle as it was relived.   This was a thoroughly enjoyable program and presentation and, since I did = not get a chance to thank him personally, I hope that someone who sees him = will pass on my heartiest thanks for a wonderful afternoon of beautiful musical =   music and entertainment.   Although I did not get to the master class yesterday, I was told by a participant that David Higgs was an excellent clinician and a most patient =   critic and teacher.   David Higgs is definitely worth the drive if he is even remotely close by.   A little note on the organ.... This is the best Fisk, Opus 119, has = sounded in the five or six programs I've heard. I still marvel at the breadth of =   fundamental sound in this "modern" instrument. It's heavy without being HEAVY! The reeds are smooth and warm and slightly woody with lots of = guts and power due to colour rather than volume. The flutes are bright and colourful and the principals are rich, warm, and broad, with bright and = firm, but silvery (but definitely not loud) mixtures. The strings..... well = ... there are just NO adequate words. They are to die for! The organ fits = the room perfectly. Each stop, regardless of volume, completely fills the = room and satisfies the listener. And I have yet to hear the organ as "too = loud."   Continued cudos to the Fisk Folks!       Bruce, with Miles, Molly and Degui in the Muttastery at Howling Acres http://members.tripod.com/Brucon502     --part1_c5.3273a301.2bb9039f_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2> <BR>This afternoon I heard the finest recital I've heard in years! <BR> <BR>David Higgs played the new Fisk, Opus 119, at First Presbyterian, = Gaines=3D ville FL. <BR> <BR>His program was delightful and between the program and the player the = or=3D gan was heard to its greatest advantage. <BR> <BR>The program: <BR> <BR>Fantasy and Fugue in G-minor, BWV 542 ... Johann Sebastian Bach <BR>Variations on Mein Junges Leben Hat Ein End &nbsp;&nbsp;... Johann = Piete=3D rszoon Sweelinck=3D20 <BR>Piece Heroique &nbsp;.... &nbsp;Cesar Franck <BR>Soliloquy ... David Conte=3D20 <BR>Free Fantasia on "O Zion Haste" and "How Firm a Foundation" ... = &nbsp;Wi=3D lliam Bolcom <BR>Bolero de Concert &nbsp;... &nbsp;&nbsp;Louis-James-Alfred = Lefebure-Wely <BR>Suite pour Orgue, Opus 5 &nbsp;&nbsp;... &nbsp;Maurice Durufle <BR> &nbsp;&nbsp;Prelude . Sicilienne . Toccata <BR> <BR>I preface this commentary by saying that for the second time in my = life=3D20=3D I took a book to read during a recital. &nbsp;The first time was at the = Mont=3D real OHS convention when the recital was to be the Leipzig Chorales of = Bach.=3D &nbsp;&nbsp;&nbsp;Not being a CP fan I decided to take a bood to occupy = my=3D20=3D mind while I simply listened to the beautiful Beckerath organ of Eglise = Imma=3D culee-Conception (Montreal). &nbsp;&nbsp;Alas, due to the exquisite organ, = u=3D nequal temperament and the sublime playing of Bernard Lagace, I didn't = even=3D20=3D get through a paragraph. &nbsp;&nbsp;The second time was today, because I = ha=3D ve to finish a novel being discussed at an author's book club discussion = gro=3D up. <BR> <BR>The Fantasy and Fugue in g-minor was played in a very improvisatory mann=3D er. &nbsp;Although it was played on not-quite-full organ throughout, it = was=3D20=3D very interesting and in parts, due to the combination of flexible winding, = u=3D nequal temperament, and exquisite artistry, captivating. &nbsp;&nbsp;The = fir=3D st time the Fisk temperament, assisted by gently flexible wind, locked = into=3D20=3D a G-major chord, I was drawn out of my book. &nbsp;&nbsp;Also capturing my = a=3D ttention was the careful rhythmic flexibility David Higgs used throughout = th=3D e piece. &nbsp;It was beautifully done. &nbsp;&nbsp;&nbsp;The fugue was, = ins=3D pite of the broad and full regisration sounded light and dance-like, again = m=3D ade more enticeing by the winding and temperament. <BR> <BR>Variations on Mein Junges.... were played very gently and showed the = var=3D ious colours of the organ. &nbsp;&nbsp;They were soothing and great = reading=3D20=3D music!! &nbsp;;-) <BR> <BR>Piece Heroique was played in a way I've never heard before, again = using=3D20=3D the full resources of the organ and room to greatest advantage. = &nbsp;&nbsp;=3D The most startling part was the return to the opening theme toward the end = o=3D f the piece. &nbsp;&nbsp;The tempo was almost half of what it had been at = th=3D e beginning. &nbsp;&nbsp;&nbsp;I was amazed at how exciting this made the = en=3D tire ending, creating a feeling of great anticipation and suspense. = &nbsp;&n=3D bsp;I would love to study this piece with David Higgs. <BR> <BR>Soliloquy, I must confess did not grab my attention and I don't = remember=3D hearing it, so I can't say whether I liked it or not. &nbsp;I do remember = t=3D hat at the conclusion the applause was quite hesitant, most likely due to = pe=3D ople not being sure if it was over or not. <BR> <BR>Free Fantasia on "O Zion, Haste" and "How Firm a Foundation" gave the = au=3D dience an opportunity to see what a great personality David Higgs = possesses.=3D &nbsp;&nbsp;His comments were humorous and warm, and he even enticed us = int=3D o singing the first couple of phrases of "O Zion, Haste" for those in the = au=3D dience who might not be familiar with the tune. &nbsp;&nbsp;After the = first=3D20=3D couple of phrases our memories ran out of words and resorted to la-la's = and=3D20=3D we were mercifully let off the hook. &nbsp;&nbsp;The theme of "How Firm a = Fo=3D undation" was sung for us by Mr. Higgs! His playing of this piece was = really=3D enjoyable and I found myself patting my foot as I read and pausing in = parts=3D to concentrate on the piece rather than my book. &nbsp;&nbsp;I wish these = B=3D olcom preludes were as fun for me to learn as they are to listen to, but I = j=3D ust haven't been able to get into them as a player. <BR> <BR>The Bolero was a real crowd-pleaser and David Higgs to this = opportunity=3D20=3D to extract some very bizzare colours from the reeds of the organ. = &nbsp;&nbs=3D p;With a playful carnival feel this piece was great fun, I wanted to "put = in=3D another quarter" and go around again! <BR> <BR>The Durufle Suite was magnificently presented and extremely exciting. = &n=3D bsp;Again, aided by the temperament and flexibility of wind and rhythm, = all=3D20=3D three movements were riveting, and would have been a great conclusion to = the=3D program. <BR> <BR>However, after a standing ovation, we were presented with one of the = sil=3D liest preludes I've ever heard. &nbsp;&nbsp;Prelude in E-flat by Johann = Kitt=3D el (sp?) was enough to get a giggle out of Mozart. &nbsp;&nbsp;Written in = de=3D lightful "clock piece" style with fanciful PDQ Mozart "toots" and = chromatic=3D20=3D funnies sprinkled througout, it was a piece that could have been whistled = on=3D the way to car except for the tendency to giggle as it was relived. <BR> <BR>This was a thoroughly enjoyable program and presentation and, since I = di=3D d not get a chance to thank him personally, I hope that someone who sees = him=3D will pass on my heartiest thanks for a wonderful afternoon of beautiful = mus=3D ical music and entertainment. <BR> <BR>Although I did not get to the master class yesterday, I was told by a = pa=3D rticipant that David Higgs was an excellent clinician and a most patient cri=3D tic and teacher. &nbsp; <BR> <BR>David Higgs is definitely worth the drive if he is even remotely close = b=3D y. <BR> <BR>A little note on the organ.... &nbsp;&nbsp;This is the best Fisk, Opus = 1=3D 19, has sounded in the five or six programs I've heard. &nbsp;&nbsp;I = still=3D20=3D marvel at the breadth of fundamental sound in this "modern" instrument. = It's=3D heavy without being HEAVY! &nbsp;&nbsp;&nbsp;The reeds are smooth and = warm=3D20=3D and slightly woody with lots of guts and power due to colour rather than = vol=3D ume. &nbsp;&nbsp;The flutes are bright and colourful and the principals = are=3D20=3D rich, warm, and broad, with bright and firm, but silvery (but definitely = not=3D loud) mixtures. &nbsp;&nbsp;The strings..... &nbsp;&nbsp;well ... there = are=3D just NO adequate words. &nbsp;&nbsp;They are to die for! The organ fits = the=3D room perfectly. &nbsp;&nbsp;Each stop, regardless of volume, completely = fil=3D ls the room and satisfies the listener. &nbsp;&nbsp;And I have yet to hear = t=3D he organ as "too loud." <BR> <BR>Continued cudos to the Fisk Folks! <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_c5.3273a301.2bb9039f_boundary--  
(back) Subject: Re: Off-topic: in morning From: "Stanley Lowkis" <nstarfil@attbi.com> Date: Sun, 30 Mar 2003 22:06:07 -0500   An anonymous cat showed up at Boston OHS 2000 at the 1854 E. & G.G Hook as Scot Huntington was giving a demo of the organ treasure at the Church of St. Thomas Aquinas, Jamaica Plain.   As Scot demo'd the stops, the cat Cried Out, causing much laughter among the OHS attendees! Not on the CDs.   I suspect that that cat lived in the long silent pipe organ.   If the LIST will indulge me for a POST.. Cats are very much like us, I've lived with several, and they're all INDIVIDUALS.   Glenda, Jenny pushed out a screen and disappeared for 2 1/2 weeks. I was worrying about her; was angry with her; and scared for her, that some animal possibly human was hurting her.   In this case she turned up early one morning at the back door. She was very tired and hungry, (I think that she was Lost). I watched her eat from the food dish THAT MORNING lying down taking nibbles.   R.I.P. Jenny   1988-1993   Glenda wrote: > > Momma-Cat, a/k/a Woodell (Rick named her thusly because she came out of > the woods and it sounded like a good old Southern name), did not come > home Friday night, and has not been seen since Friday morning. I fear > the worst, although she was raised as a woods cat before coming to us > and could handle herself against all comers. Remaining are her four > offspring, all 1 year old this week: > > Bubba Columbus > Junior > Nina Purina > Maria a/k/a Mary > > If you will remember, I acted as midwife for these the day after Palm > Sunday last year. We were celebrating the four birthdays, plus Malachi > Erastus' (Mack) and Zachariah Lucifer's (Zach) (the 5th of March) and > Momma Cat's (since we don't really know her birthday) all week with > tuna, hamburger and other kitty treats, but our joy has turned to sorrow > in her absence. > > I pray that she is only galavanting and will return safely, but in my > heart I know she's gone. > > Glenda Sutton    
(back) Subject: Re: Off-topic: in mourning From: "firman1" <firman1@prodigy.net> Date: Sun, 30 Mar 2003 21:14:13 -0600   Glenda, It is that time of the year for our cats. Have heart, she is just out dating. Berley      
(back) Subject: Re: "Kilgan" "Rodgers" "Cathedral" "organ" From: <Cremona502@cs.com> Date: Sun, 30 Mar 2003 22:24:06 EST     --part1_1de.5ac81fc.2bb90ed6_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 3/30/03 5:38:28 PM Eastern Standard Time, conwayb@sympatico.ca writes:     > What all this has to do with organs I really don't quite know, but put = it > down to a Senior moment! >   There is a similarity to organs that possess many old, leathery parts....   lots of wasted air and extraneous tooting.... ;-)   Bruce, with Miles, Molly and Degui in the Muttastery at Howling Acres http://members.tripod.com/Brucon502     --part1_1de.5ac81fc.2bb90ed6_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 = 3/30/0=3D 3 5:38:28 PM Eastern Standard Time, conwayb@sympatico.ca writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-=3D LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">What all this has to do = wit=3D h organs I really don't quite know, but put it=3D20 <BR>down to a Senior moment! <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>There is a similarity to organs that possess many old, leathery = parts...=3D .. <BR> <BR>lots of wasted air and extraneous tooting.... &nbsp;;-) <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_1de.5ac81fc.2bb90ed6_boundary--  
(back) Subject: Re: "Kilgan" "Rodgers" "Cathedral" "organ" From: "firman1" <firman1@prodigy.net> Date: Sun, 30 Mar 2003 21:37:00 -0600   Mr. Conway, Perhaps the "spin" you perceive is that of a future scud filled with = anthrax or nerve gas directed at your city. You have two choices: Believe Bush. Believe Saddam. You just can't get over it can you. Grow up. Mr. Berley Antoine Firmin II Bayou La Combe, Louisiana      
(back) Subject: Rodgers-Kilgen Controversy explained... From: <Quentsmith@aol.com> Date: Sun, 30 Mar 2003 23:54:06 EST     --part1_15d.1dbfd6c5.2bb923ee_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   I am associated with a local Rodgers dealer and took the time to find out what was actually going on with this subject. A lot of the PipeChat = responses to this 19 year old were vitriolic, damning Rodgers for things that are apparently not TRUE! I contacted the factory at Rodgers and got this response: The local dealer will answer him. The kid is not associated with =   the Cathedral-the priests and the organists(plural) there have high praise =   for the pipe/digital update which is almost complete. Basically he has no clue about the organ or about the project. This is not a good historic = pipe organ, but an old one that has been rebuilt several times and no one even knows what the original wind pressure was. The dealer for this area is a respected pipe organ maintenance company-they know a lot more about pipe organ than the person writing the original complaint. This should clarify things. Taking things out of context or complaining about things that by necessity need investigation should be couched until all the information comes in. Experts are already on the job, I suspect someone is itching for = a fight. My opinion on that issue entirely. I hope this elucidates everyone that was curious about this from the beginning and those that suspected = that things were not what they first appeared to be. Quentin Smith   --part1_15d.1dbfd6c5.2bb923ee_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">I am associated with a local Rodgers dealer and = took t=3D he time to find out what was actually going on with this subject. A lot of = t=3D he PipeChat responses to this 19 year old were vitriolic, damning Rodgers = fo=3D r things that are apparently not TRUE! I contacted the factory at Rodgers = an=3D d got this response: The local dealer will answer him. The kid is not = associ=3D ated with the Cathedral-the priests and the organists(plural) there have = hig=3D h praise for the pipe/digital update which is almost complete. Basically = he=3D20=3D has no clue about the organ or about the project. This is not a good = histori=3D c pipe organ, but an old one that has been rebuilt several times and no = one=3D20=3D even knows what the original wind pressure was. The dealer for this area = is=3D20=3D a respected pipe organ maintenance company-they know a lot more about pipe = o=3D rgan than the person writing the original complaint. This should clarify = thi=3D ngs. Taking things out of context or complaining about things that by = necess=3D ity need investigation should be couched until all the information comes = in.=3D Experts are already on the job, I suspect someone is itching for a fight. = M=3D y opinion on that issue entirely. I hope this elucidates everyone that was = c=3D urious about this from the beginning and those that suspected that things = we=3D re not what they first appeared to be. Quentin Smith</FONT></HTML>   --part1_15d.1dbfd6c5.2bb923ee_boundary--  
(back) Subject: composition of Swell mixture From: <quilisma@socal.rr.com> Date: Sun, 30 Mar 2003 21:07:50 -0800   We're comin' round the bend with our project ... but we're not sure how to handle the Swell mixture.   Here's the proposed stop-list; half now for the interim church; the other half for the main church 7-10 years down the road; sliders and stop action prepped on Swell and Great windchests; console prep only for Chair and Pedal stops; slider chests, except for borrowed stops.   (* stops recycled from 1966 Moller out of St. James Episcopal Church, Newport Beach CA, revoiced, rescaled, cleaned up) (grin)   PEDAL   32' Resultant - bottom octave Sub Bass + 12 independent quint pipes; the rest Sub Bass playing an octave lower 16' Principal - prep 16' Violone (gt) *16' Sub Bass *16' Lieblich Gedeckt (sw) 8' Octave Bass *8' Flute - 12 pipes - ext. Sub Bass 8' Violoncello (gt) *8' Gedeckt (sw) 4' Chorale Bass *4' Flute - 12 pipes - ext. Sub Bass 2' Mixture V - prep 16' Trombone - prep 16' Bassoon (sw) 8' Trumpet - prep 4' Clarion - prep   GREAT   16' Violone - facade 8' Open Diapason - facade 8' Harmonic Flute - prep 8' Violoncello - 12 pipes 8' Chimney Flute 4' Octave 4' Flute - prep *2 2/3' Cornet III 2' Super Octave - prep 2' Mixture V 8' Trumpet - prep (Chair Cromorne for now)   SWELL   *16' Lieblich Gedeckt - 12 pipes 8' Open Diapason *8' Hohl Flute *8' Viola *8' Gedeckt *8' Vox Celeste 4' Octave 4' Flute - prep 2' Octavin - prep 2 2/3' Mixture V   I proposed:   c 1 - b 12 - 2 2/3, 2, 1 1/3, 1, 2/3 c 13 - b 24 - 4, 2 2/3, 2, 1 1/3, 1 c 25 - b 36 - 8, 4, 2 2/3, 2, 1 1/3 c 37 - b 48 - 8, 4, 4, 2 2/3, 2 c 49 - c 61 - 8, 8, 4, 2 2/3, 2   OR   c 49 - c 61 - 8, 5 1/3, 4, 2 2/3, 2     16' Bassoon - 12 pipes *8' Trumpet - to be replaced in Stage Two 8' Oboe 8' Vox Humana - prep 4' Clarion - prep   CHAIR - prepared for, console only - Stage Two   8' Open Diapason 8' Copula - in memory of Walter Holtkamp Sr. 8' Ludwigtone 4' Prestant 4' Flute 2 2/3' Nazard 2' Doublette 1 3/5' Tierce 1 1/3' Quint 1 1/3' Mixture IV 8' English Tuba 8' Cornopean 8' Cromorne - on Great in Stage One       Comments?   Cheers,   Bud    
(back) Subject: Prepared stops From: "Jeff White" <reedstop@prodigy.net> Date: Sun, 30 Mar 2003 23:33:39 -0600   Thanks to all who responded to my query...it at least told me that it is = NOT uncommon to leave pieces out of the organ on prepared stops. I actually find that AMAZING since you have to reopen the chests and so forth, but...who am I to question.   Sebastian, you were very close on your response. I agree that it is = bizarre that there is a Choir and Great, but that was Bunjes for you. The = prepared stops were an 8' Streichflote in the Choir (useless, IMHO.) It needs a 4' flute desperately for choral accompaniment, as well as organ literature. The toe and rackboards are already drilled, and the real fun part is that the 8' stop was to be at tenor-C, and share the basses with the existing = 8' flute. We (and by this I mean the church and our local company that is maintaining the instrument. This is NOT the original builder.) can deal with the boards, but with the slider gone, that means having to drill a = new one. Supposedly the builder had them (so he told ME), but when the = company called him, they seem to have "disappeared." The other preparation is a = 4' Schalmei in the Pedal, and like the Choir, everything is drilled. But, without the slider, that's useless to us. The third preparation will take = a lot more, but in a different way. The top manual, which currently does NOTHING, is for a Trompete en hors. It was not intended to couple to anything. That may never come to be, either, due to expense of a = horizontal trumpet. By the way, this is an EP organ with slider chests. All of the stops are straight (no unit or borrowing).   Arp, Andrew, Andres: The organ was built in 1986 by a company which technically is no longer in business. The original contracts are missing thanks to a rogue pastor this church had who took it upon himself to clean out files. (Idiot!) I don't even think the contracts exist. It wasn't = ME who told the church all they needed were the pipes...supposedly that's = what the builder told the church. Randy: why not get the pipes then? Money = ran out in construction, so they cut back and naturally the organ took the = hit. Arp: I know enough to tell what's missing and what's not. What I cannot tell you, I'll agree, is what's missing INSIDE the chest. I have traced everything out and everything IS there and pre-drilled; just need the = slider and whatever else goes inside (seals, etc.) I even got the slider = mechanisms to work by finding the "loose wires".   However, in any case, I would not endeavor to take on a project or have = the "local hobbyist" do it. I've accepted quotations from our current maitaining company as well as the builder (in person, if not corporately). It may all be a moot point anyway since this activity was on my own accord and not authorized by the church as a project.   The main question I had was about the normal practices when preparing = stops. I very much wish they hadn't bored the boards already if they weren't = going to put in the sliders. Logic would dictate that it is easier to drill = them all at the same time. BUT, there's nothing to do except see what can be done now. I definitely appreciate all the feedback!   Hope you all have a great Easter! I'm just ecstatic that the warm weather has finally returned!!!   Kind regards to all:   Jeff    
(back) Subject: Re: Rodgers-Kilgen Controversy explained... From: "Stanley Lowkis" <nstarfil@attbi.com> Date: Mon, 31 Mar 2003 03:00:41 -0500       Quentsmith@aol.com wrote: > > I am associated with a local Rodgers dealer and took the time to find = out > what was actually going on with this subject. Well the kid is a declared 19 year old vitriolic. A lot of the PipeChat > responses to this 19 year old were vitriolic, damning Rodgers for things > that are apparently not TRUE! I contacted the factory at Rodgers and got > this response: The local dealer will answer him. The kid is not = associated   Like electronic organ dealers have any credibility other than = Salesmanship?   > with the Cathedral-the priests and the organists(plural) there have high > praise for the pipe/digital update which is almost complete. Basically = he > has no clue about the organ or about the project. This is not a good > historic pipe organ, but an old one that has been rebuilt several times = and > no one even knows what the original wind pressure was. The dealer for = this > area is a respected pipe organ maintenance company-they know a lot more > about pipe organ than the person writing the original complaint. This = should > clarify things. Taking things out of context or complaining about things > that by necessity need investigation should be couched until all the > information comes in. Experts are already on the job, I suspect someone = is > itching for a fight. My opinion on that issue entirely. I hope this > elucidates everyone that was curious about this from the beginning and = those > that suspected that things were not what they first appeared to be. = Quentin > Smith   Sell you're Crap and make a living. God Bless You, we're at War.   Respectfully, Stan Lowkis