PipeChat Digest #3646 - Friday, May 2, 2003
 
Re: tracker extension
  by <TubaMagna@aol.com>
RE: Westminster Organs
  by "Shelley Culver" <sec_oboe2002@excite.com>
PipeChat IRC - WAS:Re: Other Pipe Organ Shows
  by "Administrator" <admin@pipechat.org>
RE: Hello All!
  by "andrew meagher" <ameagher@stny.rr.com>
Re: Hello All!
  by "Ryan C. Lander" <landerr@infoblvd.net>
our new organ
  by <quilisma@socal.rr.com>
 

(back) Subject: Re: tracker extension From: <TubaMagna@aol.com> Date: Fri, 2 May 2003 15:34:06 EDT   Mechanical pedal extensions have been used by American builders. Two that =   come to mind are Roy Redman and Lynn Dobson. In one Dobson organ I've = noted, he actually had an extended range (42 or 44 notes) with a Pedal to Pedal octave coupler.   SMG  
(back) Subject: RE: Westminster Organs From: "Shelley Culver" <sec_oboe2002@excite.com> Date: Fri, 2 May 2003 16:32:06 -0400 (EDT)     >Welcome, Shelley. Wish you the best for your trip...   Thank you, thank you!   >Is there a way to install a good air condition there that keeps a regular = humidity and temperature in the room?   Well, I know as part of a large sum of money Mark Schweiker gave the = school they're putting air conditioning the the auditorium where the big = organ is. I highly doubt it will be used to regulate the temperature. The = temperature is so un-regulated. At times I go in to practice and it's = freezing cold. Other times it's really hot. The people at the school don't = understand anything about organs. Even the stage manager - if a certain = door stays shut, it's better for the organ, but the stage manager seems to = insist that the door remain open, even though it doesn't really need to = be. I also an under the impression that because of the way it's built, it = is really hard to keep it in tune. My professor once said they can have it = tuned, but the first time someone even walks across the stage, it starts = to fall out of tune. It's definitely a problem. The thing is, it's only a = problem for about 6 of us. No one else notices, understands, or possibly, = cares.   Shelley   _______________________________________________ Join Excite! - http://www.excite.com The most personalized portal on the Web!  
(back) Subject: PipeChat IRC - WAS:Re: Other Pipe Organ Shows From: "Administrator" <admin@pipechat.org> Date: Fri, 2 May 2003 18:19:34 -0500   At 1:59 PM -0400 05/02/03, Swedish5702@aol.com wrote: >Every Tuesday afternoon at 3p on BBC Channel two is a 1/2 hour pipe >organ show. Just enter BBC on search and follow through. Great >program. >Every Friday evening at 9p is a one hour theatre pipe organ program >from the public service station in Perth, Australia. Someone from >Australia will help in locating the station for you. >Best, >Craig J.   Craig's note about the "Theatre Organ Time" program give me a good "opening" to remind people that PipeChat sponsors IRC [Internet Reply Chat] sessions twice a week, on Monday and Friday nights beginning at 9:00 PM EASTERN time. And on Friday nights many of us listen to the "Theatre Organ Time" program from Perth, Western Australia via the Internet. The PipeChat IRC Group has had selections dedicated to us listeners by the MCs of the program!   So if you want to find "Theatre Organ Time" on a Friday night the simplest way is to join the PipeChat group - someone on-line will be able to give you directions on how to connect to the live stream from Perth.   For those of you that need directions on how to connect to the IRC sessions please go to http://www.pipechat.org/irc.html Compliments of Ad Schutt there are even step by step directions with "screen shots" showing EXACTLY how to set-up your computer to join us.   Hope to see some of you there tonight   David -- **************************************** David Scribner Owner / Co-Administrator PipeChat   http://www.pipechat.org mailto:admin@pipechat.org  
(back) Subject: RE: Hello All! From: "andrew meagher" <ameagher@stny.rr.com> Date: Fri, 2 May 2003 19:25:01 -0400   Shelley,   I once played the Marylin Mason organ at University of Michigan. It is a Fisk that is built in the style of a Silberman and is tuned mean tone. I found that as long as I stuck to Bach and other baroque composers it was fine. However, when I tried the final from Grande Piece Symphonique in F Sharp Major that I was working on at the time it sounded heinous! Mendelssohn sonatas also worked very well on it. So as long as you stick = to Mendelssohn and Baroque period and earlier it should be fine.   Andrew Meagher   -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org]On Behalf Of Emmons, Paul Sent: Wednesday, April 30, 2003 2:40 PM To: 'PipeChat' Subject: RE: Hello All!     Shelley Culver writes:   >we're going to Gronigen to see two instruments. From there we go to = Cappel, where we're staying. There's a Schnitger instrument in Cappel that we get = to play on everyday. We're also going to see the Schnitger organs in = Dedesdorf, Grasberg, Stade, and Ludingwort. We will visit the antique organs in = Norden (built by Schnitger in 1690), in Uttum (built by an unknown builder in the 16th century), in Rysum (builty in 1457! This is the oldest organ in Germany, second oldest in the world.), and in Weener (built by Schnitger in 1709-10). We might also go to Hamburg to see the organ in St. Jacob's   Shelley, are you prepared (or preparing) for the fact that Schnitger = organs (and probably many others built around that time) are tuned at least 1/2 step sharp from what we're used to?   I've never had the privilege of playing one, but I imagine that this characteristic would make it a very confusing experience for awhile. I'll never forget the one time I tried the transposer on an Allen for a hymn in the middle of a service. Big mistake-- I mean, like instant train wreck! My fingers suddenly didn't know where to go anymore. I don't feel like = ever touching that knob again. It's easier transposing the old-fashioned way, deliberately with the brain. And I don't have perfect pitch, although I did, or very nearly did, when I was your age.   I've gotten used to the same disconnect with the carillon. Many carillons are not in "concert pitch" at all. But that's such a different instrument from the organ altogether that the experience of playing one note and hearing another doesn't transfer very well.   I'd be curious to know how you (and others who are familiar with such experiences) manage to handle the confusion.     "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: Hello All! From: "Ryan C. Lander" <landerr@infoblvd.net> Date: Fri, 2 May 2003 19:35:26 -0400   How can ones ear get used to a different tuning than instruments today use = ? Im not sure the terms, but some of these older instruments were not tuned like a piano, am I right ? To see if I understand this- Does it mean = that say, middle C is middle C, then D is not D as we call it today ? HELP ! = I cant see how I would ever be able to play something like tis- It would sound all wrong, Id guess ! LOL Enligthen me as to these baroque, mean, etc.   Thanks !   Ryan     ----- Original Message ----- From: "andrew meagher" <ameagher@stny.rr.com> To: "'PipeChat'" <pipechat@pipechat.org> Sent: Friday, May 02, 2003 7:25 PM Subject: RE: Hello All!     > Shelley, > > I once played the Marylin Mason organ at University of Michigan. It is = a > Fisk that is built in the style of a Silberman and is tuned mean tone. = I > found that as long as I stuck to Bach and other baroque composers it was > fine. However, when I tried the final from Grande Piece Symphonique in = F > Sharp Major that I was working on at the time it sounded heinous! > Mendelssohn sonatas also worked very well on it. So as long as you = stick to > Mendelssohn and Baroque period and earlier it should be fine. > > Andrew Meagher > > -----Original Message----- > From: pipechat@pipechat.org [mailto:pipechat@pipechat.org]On Behalf Of > Emmons, Paul > Sent: Wednesday, April 30, 2003 2:40 PM > To: 'PipeChat' > Subject: RE: Hello All! > > > Shelley Culver writes: > > >we're going to Gronigen to see two instruments. From there we go to Cappel, > where we're staying. There's a Schnitger instrument in Cappel that we = get to > play on everyday. We're also going to see the Schnitger organs in Dedesdorf, > Grasberg, Stade, and Ludingwort. We will visit the antique organs in Norden > (built by Schnitger in 1690), in Uttum (built by an unknown > builder in the 16th century), in Rysum (builty in 1457! This is the = oldest > organ in Germany, second oldest in the world.), and in Weener (built by > Schnitger in 1709-10). We might also go to Hamburg to see the organ in = St. > Jacob's > > Shelley, are you prepared (or preparing) for the fact that Schnitger organs > (and probably many others built around that time) are tuned at least 1/2 > step sharp from what we're used to? > > I've never had the privilege of playing one, but I imagine that this > characteristic would make it a very confusing experience for awhile. = I'll > never forget the one time I tried the transposer on an Allen for a hymn = in > the middle of a service. Big mistake-- I mean, like instant train = wreck! > My fingers suddenly didn't know where to go anymore. I don't feel like ever > touching that knob again. It's easier transposing the old-fashioned = way, > deliberately with the brain. And I don't have perfect pitch, although I > did, or very nearly did, when I was your age. > > I've gotten used to the same disconnect with the carillon. Many = carillons > are not in "concert pitch" at all. But that's such a different = instrument > from the organ altogether that the experience of playing one note and > hearing another doesn't transfer very well. > > I'd be curious to know how you (and others who are familiar with such > experiences) manage to handle the confusion. > > > "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 > > > "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: our new organ From: <quilisma@socal.rr.com> Date: Fri, 02 May 2003 17:12:59 -0700   Well, I guess it's official ... the organ committee voted it OUT of committee (FINALLY), with the rector's endorsement ... we still have to raise some money, but it's basically a done deal.   Stops marked "M" are from Moller Opus #10,125 (1966) that we bought from St. James Episcopal Church, Newport Beach CA two years ago and put in storage. They got a new Buzard.   This is Stage One, to be installed in the interim church; Stage Two will consist of 25-27 more stops, to be installed when the main church is built in 7-10 years. Additions prepared for on Swell and Great windchests, and in the 3m console.   Holtkamp Organ Co., Cleveland, OH USA   SWELL 61 notes, enclosed   16' Gedeckt - 12 pipes - M 8' Open Diapason - M 8' Viola - M 8' Vox Celeste - M 8' Gedeckt - M 4' Octave - M 4' Flute - M 2 2/3' Mixture V - new 16' Bassoon - 12 pipes - new 8' Trumpet - M in Stage One; becomes 4' Clarion in Stage Two 8' Oboe - new Sw 16-U-4 Tremulant three spare sliders prepared for 2' Octavin, 8' Vox humana, and 4' Clarion   GREAT 61 notes, unenclosed - all new except chimes and two ranks of the Cornet   16' Violone - facade 8' Principal - facade 8' Violoncello - 12 pipes 8' Chimney Flute 8' Gemshorn 4' Octave 2 2/3 Cornet III - M + new tierce rank 2' Mixture V 8' Cromorne in Stage One; moves to Choir in Stage Two; to be replaced by new 8' Trumpet in Stage Two Tremulant Chimes - M Gt 16-U-4 Sw 16-8-4 Ch 16-8-4 Ped to Gt Bass three spare sliders prepared for 8' Harmonic Flute, 4' Flute, 2' Super Octave   CHOIR - prepared for in console only - enclosed   8' open diapason 8' open flute 8' copula - named in memory of Walter Holtkamp Sr. 8' salicional 8' ludwigtone 4' octave 4' flute 2 2/3' nazard 2' super octave 2' flute 1 3/5' tierce 1 1/3' mixture iv 8' english tuba - non-coupling, separate swell enclosure and expression shoe 8' cornopean 8' cromorne - moved from gt Tremulant (Harp, maybe, if I can find one) Ch 16-U-4 Sw 16-8-4   PEDAL   32' Resultant - 12 independent quint pipes; balance 16' Sub Bass playing 8va lower 16' Sub Bass - M 16' Violone - gt 16' Lieblich Gedeckt - sw 8' Octave Bass - M 8' Flute - 12 pipes - M 8' Violoncello - gt 8' Gedeckt - sw 4' Chorale Bass - new 4' Flute - 12 pipes - M 2' Flute - 12 pipes - M 16' Bassoon - sw Sw 8-4 Gt 8 Ch 8-4 prepared for in console: 16' Principal, 32' Contra Trombone (12 pipes), 16' Trombone, 8' Trumpet, 4' Clarion   Classic Holtkamp "salt-box" stop tongue console with the usual toys (grin).   Due ??? ... by Christmas of 2004, hopefully.   Cheers,   Bud