PipeChat Digest #3691 - Thursday, May 22, 2003 Re: Magnetism and cutiing edges (wasTuning knife trouble) by "Kealypaul" <firstname.lastname@example.org> Re: Alan Freed's pedals--limerick alert by "Kealypaul" <email@example.com> Tracker action Razors by "First Christian Church of Casey, Illinois" <firstname.lastname@example.org> Tuning knife trouble by "Mickey Sadler" <email@example.com> Re: Organ setting of Wunderbarer Koenig? by "Jonathan Orwig" <firstname.lastname@example.org> Re: Alan Freed's pedals--limerick alert by <RonSeverin@aol.com> Long! RE: Futurama by "Andr=E9s G=FCnther" <email@example.com> 2nd (short!) RE: Futurama by "Andr=E9s G=FCnther" <firstname.lastname@example.org> Re: Alan Freed's pedals--limerick alert by "Alan Freed" <email@example.com> National Cathedral job. by "Hugh Drogemuller" <firstname.lastname@example.org> Music Week by "Judy A. Ollikkala" <email@example.com>
(back) Subject: Re: Magnetism and cutiing edges (wasTuning knife trouble) From: "Kealypaul" <firstname.lastname@example.org> Date: Thu, 22 May 2003 08:43:23 -0700 (PDT) Oops, TUNing knives ... I thought you spoke of TURNing knives. those that shift direction in the moonlight when left unattended. __________________________________ Do you Yahoo!? The New Yahoo! Search - Faster. Easier. Bingo. http://search.yahoo.com
(back) Subject: Re: Alan Freed's pedals--limerick alert From: "Kealypaul" <email@example.com> Date: Thu, 22 May 2003 08:59:33 -0700 (PDT) When people ask me why there are three pedals on a piano, I tell them it's obvious ... the one in the middle is to separate the other two. --- Victor Borge =3D=3D=3D=3D=3D Great Poetry, this =3D=3D=3D=3D=3D Italian is not Alan's forte, So pedals on HIS pianoforte Are left, middle, right Or soft, loud ... and might The other be there just for sport, eh? __________________________________ Do you Yahoo!? The New Yahoo! Search - Faster. Easier. Bingo. http://search.yahoo.com
(back) Subject: Tracker action Razors From: "First Christian Church of Casey, Illinois" <firstname.lastname@example.org> Date: Thu, 22 May 2003 11:04:38 -0500 Alan--No, this will work ONLY with Tracker Action Razors! Well, it will work to a limited degree on any slider-chest razor with electric pulldowns, but you lose the advantage of being able to finesse the articulation when you go to electric action, of course. But with Pitmans, you have pits, and Ventils will gouge huge vents. Of course, you can locate the shaver a long distance from your face, so the convenience may be worth it in some circumstances. Dennis Steckley ________________________ "Will this work on my electric razor too? Alan B"
(back) Subject: Tuning knife trouble From: "Mickey Sadler" <email@example.com> Date: Thu, 22 May 2003 12:15:08 -0700 > Subject: Re: Tuning knife trouble > From: "Bob Conway" <firstname.lastname@example.org> > Date: Wed, 21 May 2003 21:35:25 -0400 > > John, > > Well, this list is a source of all things wise and wonderful, - I have > never heard that the magnetized tool has to be pointed east-west to be > able > to remove the magnetism! > > Pull the other leg, - it's got bells on it! > > Bob Conway > > John Speller tells us ......... > >> ... if that doesn't work ... it is probably because you are pointing >> it >> toward magnetic north while hitting it. Make sure you point it >> east-west >> while hitting it. >> >> John S I remember reading in an old book on blacksmithing that when you are tempering tools that you should dip in the quenching liquid (oil, water, whatever you are using) with the tool aligned North. The reason given was that the crystal structure of the metal would align in one direction, making the tool stronger and less resistant to chipping when struck. Mickey ---- Mickey E. Sadler Dublin, Ohio
(back) Subject: Re: Organ setting of Wunderbarer Koenig? From: "Jonathan Orwig" <email@example.com> Date: Thu, 22 May 2003 09:55:55 -0700 Pat, There is a fairly easy and not too fussy arrangement of it by Reger in one of the sets of chorale preludes -Jonathan ----- Original Message ----- From: <firstname.lastname@example.org> To: <email@example.com> Sent: Wednesday, May 21, 2003 7:29 PM Subject: Organ setting of Wunderbarer Koenig? > Good evening, Pipechatters, > > An organist colleague seeks a straightforward organ setting of > Wunderbarer Koenig (also known as Arnsberg) for a program. The text > associated with the Arnsberg tune is "God Himself is with Us" #23 in the > Book of Worship for Armed Forces. > > I could not think of one right away, so I promised to ask your > help. Thanks in advance! > > Pat Maimone > Post Chapel, West Point, NY > Oct. 1, 1975 - June 3, 2003 > firstname.lastname@example.org > > > > ________________________________________________________________ > The best thing to hit the internet in years - Juno SpeedBand! > Surf the web up to FIVE TIMES FASTER! > Only $14.95/ month - visit www.juno.com to sign up today! > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:email@example.com > Administration: mailto:firstname.lastname@example.org > Subscribe/Unsubscribe: mailto:email@example.com > --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.483 / Virus Database: 279 - Release Date: 5/19/03
(back) Subject: Re: Alan Freed's pedals--limerick alert From: <RonSeverin@aol.com> Date: Thu, 22 May 2003 14:03:01 EDT --part1_138.20016890.2bfe6ad5_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit Hi Bob: We've had a Clemens non Papa, now an Alan non Italiano. Works for me. Ron --part1_138.20016890.2bfe6ad5_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">Hi Bob:<BR> <BR> We've had a Clemens non Papa, now an Alan non Italiano.<BR> Works for me.<BR> <BR> Ron</FONT></HTML> --part1_138.20016890.2bfe6ad5_boundary--
(back) Subject: Long! RE: Futurama From: "Andr=E9s G=FCnther" <firstname.lastname@example.org> Date: Thu, 22 May 2003 14:47:37 -0400 Andres Gunther email@example.com *SIGH*, another of these endless AGEPs.... sorry. Save it and take your time. > "Did any of the great romantic builders > look backwards over their shoulders?" > *Yes*, they did. Cavaille-Coll, for example, based himself on Dom Bedos' treatise. Even he published essays about scaling re-calculations (the most interesting ones concerning facade pipes) to actualize Dom Bedos' treatise according to the pitch and tuning changes in mid to late 19th cty. Another example was Ignaz Bruder in Germany, who made due corrections too (some of them rather vitriolic BTW). We have to consider a vice versa: "forward looking" barroque masters. Colin isn't member of piporg-L, so he probably didn't read Stephen = Robert's terrific postings about the "Bach-Organs" he visited last year in Germany- one of them has a string stop. Notice: a string stop in a "barroque" = organ!. The 18th cty spaniards knew the swellbox- In 1771 an organ with swell shutters was built in our Cathedral, and Venezuela wasn't but a poor frontier province of the spanish Empire. When I got my training I was told that "Barroque composers didn't use strings because strings and swellbox because these features didn't exist = in that time" - ?!? - If we study history we must be aware of a fact: for practical reasons, History is divided into epoches and aeras by sholars. Due to that we tend to think that "on Dec 31 1779 Barroque was over; on Jan 01 1800 Romatic period began" (Example only). But this was not so, = of course. > "Other than for specialist authentic performances, why > are we attempting to replicate history all the time?" > A wound point, Colin! I got some scoldings from purists because of my progressive ideas: "You, an organ restorer say that!!"- yes: I plea for historic artisany methods when it comes to *restore* a historic instrument; but I plea for 21th cty knowledges when it comes to actual things. Note that we *all* have a bulk of conscious and unconscious knowldege in our minds (and perhaps our DNA) our forefathers hadn't- we cannot escape from this, no matter how much "historic" we want to be. To complicate things we all are artists. There were several terrific and = heated threads in other lists about this topic: To what point we shall consider "history" and from what point on we shall use our modern knowledge *and* our artist's freedom of thinking and doing things? Very philosophioc, I know... > Let's go back in time to discover futurama! > On performing: when I played pre-1800 literature for first time on a Virginal I discovered that ornamentations and Continuo accompaniments have to be played in a different way than we are used to on our modern pianos and light tracker organs- not to say electronic instruments. I included this knowledge into my = performing style, but I was warned by my colleagues: "Don't become a purist now! live your present time too!". Well, after all it remains as a matter of (good!) taste, and lately it = seems to be that ancient performes were much more "modern" than we were told. I refer to Stephen Bicknell's essay "Expression and the Organ" for more. On building: In other list there was a huge article about a group that dedicates itself to study troughly and make exact replicas of historic instruments- including organs. For me, such admirable efforts (which BTW costs an awful amount of money) only have sense however if: *forgotten techniques that will help to rescue historic instruments are rediscovered by this; *So rediscovered ancient but valuable building techniques and sound = concepts will be applied to enrich *modern* instruments; *this group doesn't become a close, exclusive club for hypertrained and studied sholars only but includes perhaps less trained but highly open minded and imaginative people too. Remember that the great instrument builders to whom we owe our present knowledge didn't study at colleges and Universities. They were bright guys trained in workshops who had good ideas and mechanical abilities. (Out of our profession, see the histories of Ben Franklin and T.A. Edison.) **I venture to say that our present hyperspecialized world lost this innovating spirit in alarming = way. This can lead to a dangerous culture stagnation.** > When Gabler fitted Bells, Birds and Thunder-stops at > Weingarten, was he attempting to replicate history, or > was he responding to new wave music? > In 19th and early 20th cty organ building made a change, and today I wouldn't dare to call it a "decadence" like I was told 25 years ago. New technologies were included giving new resources for organ performance- is this decadence?- New sound concepts were developed, and Cesar Franck, Franz Liszt, Louis Vierne and Max Reger (to name a few) created new organ music and performing styles based on these new organ concepts. = Is this decadence? - A new, fascinating organ typus emerged in America (the TO)- is this decadence? - certainly not. Bells, Birds and Thunder-stops are other resources that were known since earlier times by the spaniards. Later on American Theatre Organ building used them in broad manner- the sound effects were a must for silent movie "harmonizing". I consider the Theatre Organ as a relative of the "classic" organ- it never was intended for 'classical' performing. Question: Are there *original compositions* for these instruments and their sound effects?- considering the point: = Composing for this organ genre could be not oly innovationg but avoid to keep TO rescue efforts as a mere "nostalgia wawe". > If we look at creative music in the 21st century; by > which I mean musical composition, then it perfectly > clear to me that electronic sounds feature strongly in > both classical and not so classical music. What we have to realize: Electronic instruments are a new family of music instruments. As such we must see them; not as a substitute or imitation of existing ones. Too many people do that however since humans tend to cling = to the past in order to understand the future. (Getting philosiphical again, = I know...) > I mentioned in a recent post, that a slap bass guitar > would sound wonderful aainst organ chorus work....it > has all the ingredients of a pedal reed, but with > added percussiveness and expression. > What about a composition for pipe organ and electric guitar?- just an = idea, and I'm talking serious to our music composing members. > At the very least, we could all benefit from a > Harpsichord stop or two, which isn't difficult to > replicate digitally. A piano wouldn't go amiss too, > and may well keep some organists in employment! > Hmmmm... let me be devil's advocate here: Once I attended a worship in a church which had a last generation "toaster". The girl at the toaster managed to begin with "romatic" organ sound; continue with an electronic wawe sound, then = swiched to a perfect Grand Piano sound and then to harp, and ended with a terrific Mixture Chorus- oh, I forgot: a brief passage was on a lovely reed organ. Wonders of technology- and discutible taste! > But more importantly, what sort of voices would YOU > create by digital (or none digital) means, which would > blend nicely with true organ tone, but owe nothing to > the organ or any other traditional instrument? > Modern Synthetizers have a broad gamma of sounds to choice and experiment with. Last generation models can be tuned according to the organ, which = was a major impediment to match them with the King of Instrument until recent. > We require imagination! > Richard Wagner used to say: "Kinder, macht Neues, Neues, immer wieder was Neues"- "Kids, keep creating new things, new things; ever new things!" = (free translated). In the best of the worlds we should make new things out of = the best from the past, the best from our present and best of our new ideas... but in avoiding a mishmash *there* lies the buried dog. I agree wholly = with Colin's exposee! Cheers Andres =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D First was the cat, then was the Orgler. The Orgler got a pet and the cat got something to wonder about.
(back) Subject: 2nd (short!) RE: Futurama From: "Andr=E9s G=FCnther" <firstname.lastname@example.org> Date: Thu, 22 May 2003 14:49:41 -0400 Andres Gunther email@example.com Ron Severin wrote: > The pendullum has swung back in the other direction, with the reaction, what have we done to these fine old romantic organs? Many didn't survive the butchering and the onslaught that went on for better than 40 years. A good point, Ron, and a warning for us all, I think. Now that the neobarroque trend is over, many valuable organs of *that* period are endangered right now. Ten years ago, a re-voicing of our "screaming" = Kleuker organs to a more nice sound was considered. I must admit that the idea was temptating. But after discussing the matter with my organist colleague we agreed that, outside the risk to "build up a mess" because re-voicing is a *very* delicate task, a) these organs are 'documents' of a certain, now = past period; b) compositions were written for this "screaming" sound conception (by Langlais and Guillou a.o.); c) Kleuker was a relative 'small' but open minded builder who patented a couple of innovations and realized a couple = of important organs in Europe. With the knowledge that "nothing is worse than recent past" we decided to let them alone as they are for yet. Time will determine how valuable they are in fact- if they become valuable we don't have to reproach ourselves to have them subjected to a major sound alteration. And if not... well, a re-voicing can be re-considered. All this in sight that we own seven "Victorian" organs that are almost unaltered... because a) Old Man Schmeltzer said "they are well done, so = what alter them for?", and b) lack of money/interest has its good sides too!! Cheers Andres =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D First was the cat, then was the Orgler. The Orgler got a pet and the cat got something to wonder about.
(back) Subject: Re: Alan Freed's pedals--limerick alert From: "Alan Freed" <firstname.lastname@example.org> Date: Thu, 22 May 2003 15:42:10 -0400 > This message is in MIME format. Since your mail reader does not = understand this format, some or all of this message may not be legible. --B_3136462931_5079747 Content-type: text/plain; charset=3D"US-ASCII" Content-transfer-encoding: 7bit On 5/22/03 2:03 PM, "RonSeverin@aol.com" <RonSeverin@aol.com> wrote: > Hi Bob: > > We've had a Clemens non Papa, now an Alan non Italiano. > Works for me. > > Ron And Alan (at least THIS one) is ALSO non Papa. Had the blood test. Kept the results. Alan F[reed] --B_3136462931_5079747 Content-type: text/html; charset=3D"US-ASCII" Content-transfer-encoding: quoted-printable <HTML> <HEAD> <TITLE>Re: Alan Freed's pedals--limerick alert</TITLE> </HEAD> <BODY> <FONT FACE=3D3D"Times New Roman">On 5/22/03 2:03 PM, = "RonSeverin@aol.com&q=3D uot; <RonSeverin@aol.com> wrote:<BR> <BR> </FONT><BLOCKQUOTE><FONT SIZE=3D3D"2"><FONT FACE=3D3D"Arial">Hi Bob:<BR> <BR> We've had a Clemens non Papa, now an Alan non Italiano.<BR> Works for me.<BR> <BR> Ron</FONT></FONT><FONT FACE=3D3D"Times New Roman"> <BR> </FONT></BLOCKQUOTE><FONT FACE=3D3D"Times New Roman"><BR> And Alan (at least THIS one) is ALSO non Papa. Had the blood test. = &n=3D bsp;Kept the results.<BR> <BR> Alan F[reed]</FONT> </BODY> </HTML> --B_3136462931_5079747--
(back) Subject: National Cathedral job. From: "Hugh Drogemuller" <email@example.com> Date: Thu, 22 May 2003 16:30:28 -0400 Can anyone confirm that the job went to an Englishman who is presently at the Brompton Oratory School? HD
(back) Subject: Music Week From: "Judy A. Ollikkala" <firstname.lastname@example.org> Date: Thu, 22 May 2003 16:42:21 -0400 ST. PAULS CATHEDRAL, WORCESTER MA (corner of High and Chatham Sts.) ST. PAULS MUSIC FESTIVAL 2003 MONDAY JUNE 9 7pm ORGAN CONCERT - SEAN REDROW - Organist of St. Johns, Worcester, including works by Mendelssohn, Brahms and Reubke Admission free TUESDAY JUNE 10 7pm RECITAL BY MATT RIPPERE - BARITONE- singing works by Vaughan Williams, Brahms and Mussorgsky, with Ian Watson, piano Admission free WEDNESDAY JUNE 11 7pm RECITAL BY SWEDISH SOPRANO DOMINIQUE HELLSTEN - singing works by Grieg, Rachmaninoff and Sibelius, with Ian Watson, piano Admission free THURSDAY JUNE 12 at 1PM ORGAN CONCERT - JEFF WOODS - Organ Scholar Holy Cross College, includes works by Franck and Dupre Admission free FRIDAY JUNE 13 7pm WINE, CHEESE & MOZART with Matt Rippere baritone, Raymond Delisle tenor, Ian Watson piano and St. Pauls Festival Orchestra Admission $10. (Group Discounts Available) SATURDAY JUNE 14 7pm CLASSICAL ELEGANCE - Haydns Great organ Mass and Handels Organ Concerto in F with the acclaimed Novi Cantori Choir, St. Pauls Festival Orchestra, Ian Watson organ and conducted by Allan Taylor Admission free SUNDAY JUNE 15 at 4PM THE SPLENDOR OF BAROQUE - Vivaldis magnificent Gloria and J. S. Bachs Cantata 170 with soloists Brenda McDonald and Paulette LaBarre, St. Pauls Cathedral Choir and Festival Orchestra conducted by Ian Watson Admission free For further information please contact the St. Pauls Cathedral Music = Office 508-754-9822 Judy Ollikkala