PipeChat Digest #4122 - Saturday, November 22, 2003
 
18th cty barrel organ 05
  by "Andr=E9s G=FCnther" <agun@telcel.net.ve>
Re: ATHENS CONCERT HALL
  by "John Foss" <harfo32@yahoo.co.uk>
New OHS Catalog & Theatre Organ CDs
  by "William T. Van Pelt" <bill@organsociety.org>
Just an IRC Reminder
  by "Administrator" <admin@pipechat.org>
Paul Creston
  by "Richard Hazelip" <rhazelip1@yahoo.com>
Re:  Ditties, was Nun Danket Alle Gott
  by "Kenneth Potter" <swell_shades@yahoo.com>
 

(back) Subject: 18th cty barrel organ 05 From: "Andr=E9s G=FCnther" <agun@telcel.net.ve> Date: Fri, 21 Nov 2003 09:39:20 -0400   Andres Gunther agun@telcel.net.ve   18th cty barrel organ part 05 - The restoration   Keeping in mind what I exposed in my last installment I had to make some compromises with the restoration of the barrel organ. Basically I followed the first criterion. For this the organ shows its history and substance, including some alterations like the black enamelled base plate and reproductions of lost or unrepairable parts. It works- but the brass clavier is somewhat noisy; no wonder after two centuries. It has a nice sound without annoying 'bugs' - however its pipework became unregular and isn't 100% original anymore. I considered seriously to make a new pipe set. But too many historic substance would = have got lost in this case and I decided to leave it as it is, and replace only the most damaged or unaccurate pipe copies with new ones. All existing original pipes were conserved and their exact measurements noted, of = course.   But I had to make other concessions. My client had an understanding for = the "mean but original look" (anyway the organ isn't visible), but he expected trouble free and reliable functioning. As most List fellows know I live in = a country where budgets and availability of special supplies, spare parts, equipments and specialists is limited however. I had to use commercially available brass instead of custom casted matching alloy for the new gears. Hide glue isn't available- only bone glue. And for certain permanent, high stressed joints in chest and base board I used heavy duty PVC glue. The roller cannot be saved- more about this in a further installment.   The restoration of the organ itself comprised: 1) Shimming and re-gluing the baseboard for organ and clock movement with dowel reinforcements to avoid further splitting; and shimming of the mounting holes to keep the mechanism at proper level. 2) Reconstruction of the wind system. The original reservoir could be rescued, but the feeders were useless crude made copies. Fortunatedly the lower side of the reservoir conserved the ancient pencil marks and the = half rotten original feeder frames from which I could redesign the new feeders = in original fashion. Of course I made a new wooden wind trunk matching to original measurements too. 3) The windchest was the most damaged original part of the organ. The body is made from a single massive maple block; the tone channels are bored across and the pallet openings cut through with a knife or chisel. The = pipe holes are bored from above and scorched out, the pipes foots fit snugly in and hold the pipes in place without a rack. The pallet leather forms an onglued hinge as was usual at that time. The base board of the palletbox = has to remain detacheable since it bears the tiny springs, which are glued = into carved slots on the board. At first I had to unglue this base board and pull out a dozen of broken screws of the body. The maple had been invaded by termits. Zara had performed a successful wood treatment, but now I had to cure the damage- glue out and dovel shut hundreds of termit bore holes which caused = windleaks and runnings. Further the maple block had warped (this happens often when wood loses internal stability due to termits) and I had to rectify the = lower (pallet) side very carefully on a special jig and replace the lost = material (about 1 mm) with a leather packing. Finally I applied a glue coat on all tone channels for sealing; relatehered and glued on the pallet set and assembled the pallet box and lid. 4) The pipes restoration became a detective work since a substantial percentage was non original and the pipes had been shifted. Fortunatedly some original pipes had their note names scribed which became an important clue (even considering the possibility that that they could have been scribed in a later repair). At first it became necessary to guess the original compass; and then I had to make the due re-shiftings (and manufacture two replicas to accomplish it). All pipes were cleaned, = repaired and coated with glue at the inner side; all their stoppers were repacked. 5) The brass clavier was rectified and the claves provided with new steel teeth. The rod set of the action was useless, and I manufactured a new set and its guide rail. 6) The remaining part of the movement was cleaned and inspected. Its = quality is remarkable: taking in mind all these years of use, mistreatment and abandon it showed little wearout or damage.   At last I assembled the organ and setted a wind pressure whitch suited the pipes in their found condition. The mouth upcuts seemed me too high. Later it came out that my guess was right- somebody had spoiled them, probably = in an attempt to get more sound volume. I will come back about this. A first tuning was made, and it came out that the organ demands an a'=3D440 pitch = in its found condition. I have my doubts that this is the original pitch because the scribed names on the pipes are unusually near the pipe tops- = one gets the impression that the pipe lengths were cut down sometime = afterwards. It may be that the original pitch was a'=3D415 and was rised to match = modern standards or get more sound volume.   Once the organ was finished I made a prototype of the missing feeder = bellows motor, and on February 11 1999 the ancient barrel organ was able to play = for first time in 60+ years. It ran too fast; I still had to push the roller = by hand in order to advance it, but it played a coherent tune! My first impression of what I heard through all the clicking and clacking of the still unadjusted mechanism was: Late 18th century maybe... but forget = about Haydn or Mozart! :(   (will be ctd.)      
(back) Subject: Re: ATHENS CONCERT HALL From: "John Foss" <harfo32@yahoo.co.uk> Date: Fri, 21 Nov 2003 14:50:05 +0000 (GMT)   Further to my post on Nicholas Kynaston's recital, Klais Orgelbau sent me "by return of post" the disposition of the Athens concert hall organ, which is as follows:   ATHEN/GRIECHENLAND, CONCERT HALL 1993, IV/76, mech./el. I. POSITIV C - c4 Praestant 8' Gedackt 8' Quintade 8' Principal 4' Rohrfl=F6te 4' Octave 2' Waldfl=F6te 2' Larigot 1 1/3' Sesquialter II Scharff 1 1/3' V Cymbel 2/3' IV Dulcian 16' Cromorne 8' Tremulant   IV. SCHWELLWERK C-c4 Salicet 16' Geigenprincipal 8' Holzfl=F6te 8' Gedackt 8' Viola di Gamba 8' Voix c=E9leste 8' Blockfl=F6te 4' Salicional 4' Flageolett 2' Harm. aeth. 2 2/3' IV Hautbois 8' Vox humana 8' Tremulant II. HAUPTWERK C - c4 Praestant 16' Principal 8' Doppelfl=F6te 8' Gemshorn 8' Quinte 5 1/3' Octave 4' Nachthorn 4' Terz 3 1/5' Quinte 2 2/3' Superoctave 2' Cornet 8' V Mixtur 2' V Acuta 1' V Trompete 16' Trompete 8' Trompete 4'   PEDAL C - g 1 Untersatz 32' Principal 16' Subbass 16' Violon 16' Gedackt 8' Octave 8' Cello 8' Fl=F6tgedackt 4' Tenoroctave 4' Jubalfl=F6te 2' Aliquot 5 1/3' IV Hintersatz 4' V Bombarde 32' Posaune 16' Fagott 16' Trompete 8' Schalmey 4' Tremulant III. RECIT EXPRESSIF C-c4 Bourdon 16' Montre 8' Flute harm. 8' Rohrfl=F6te 8' Octave 4' Flute octav. 4' Nasard 2 2/3' Octavin 2' Terz 1 3/5' Sifflet 1' Plein jeu 2 2/3' VI Basson 16' Tromp. harm. 8' Clairon harm. 4' Tremulant   KOPPELN I - II III - II IV - II Chamade - II Sub III - II Sub IV - II III - I IV - I Chamade - I IV - III Sub - III Sub - IV I - P II - P III - P IV - P Chamade - P CHAMADE C - c4 Trompeta magna 16' Trompeta de batalla 8' Orlos 8' Clarin brillante 4'   There is a photograph of the hall at http://www.megaron.gr/# and photographs of Nicholas Kynaston and the console at the Truckenbrod agency site http://www.concertartists.com/KynastonN.html   John Foss                             ***************************************************************************= *********************************     =3D=3D=3D=3D=3D www.johnfoss.gr http://groups.yahoo.com/group/orgofftop/ Topics of the week : Line from Plati Kippers   ________________________________________________________________________ Want to chat instantly with your online friends? Get the FREE Yahoo! Messenger http://mail.messenger.yahoo.co.uk  
(back) Subject: New OHS Catalog & Theatre Organ CDs From: "William T. Van Pelt" <bill@organsociety.org> Date: Fri, 21 Nov 2003 17:18:29 -0500   The 2004 OHS Catalog went to press this week and we hope to mail it in = early December. It will go to all OHS members and to anyone who has placed an order with the OHS Catalog within the past two years or so. Meantime, = we're working diligently to put all of the new items on the OHS Catalog website. We hope to have it all up, soon.   Several new theatre organ CDs are now available at http://www.ohscatalog.org/theatorrec.html including:   Ken Double playing the Kimball at Dickinson High School, Wilmington, Delaware (now "completed" at 66 ranks) on a CD entitled "Double Touch."   Bob Ralson playing the same organ in a program of marches, primarily, on a CD entitled "God Bless America."   Jelani Eddington, organist, and David Harris, pianist, playing a program = of Christmas favorites on a fabulous, 26-rank, residential Grand Barton = Theatre organ installation where it is flanked by two 9' concert grands (a = Steinway on one side and a Mason & Hamlin on the other).   Lyn Larsen playing the world's largest theatre pipe organ (5 manuals, 80 ranks) in the Barrington, Illinois, home theatre of Jasper Sanfilippo, celebrating the tenth anniversary of the stupendous instrument. Title: "Stairway to Paradise"   Don Thompson playing a Compton theatre organ in the John Lickie Music = Centre in Perth in western Australia, "Hands Across the Sea."   There are also two new recordings of band organs. They are accessible in the Theatre Organ department on the website.   In all, I think there are 136 theatre organ CDs available. Then, there = are the videos of theatre organs . . .   Bill      
(back) Subject: Just an IRC Reminder From: "Administrator" <admin@pipechat.org> Date: Fri, 21 Nov 2003 17:43:17 -0600   Just a reminder that the PipeChat IRC Chat group will meet tonight as it does every Monday and Friday night beginning at 9:00 PM EASTERN time   If you haven't joined us in the past and need instructions go to http://www.pipechat.org/irc.html   Looking forward to seeing some of you there tonight   David -- **************************************** David Scribner Owner / Co-Administrator PipeChat   http://www.pipechat.org mailto:admin@pipechat.org  
(back) Subject: Paul Creston From: "Richard Hazelip" <rhazelip1@yahoo.com> Date: Fri, 21 Nov 2003 21:20:39 -0800 (PST)   Is there any information on the organ Paul Creston may have had in mind = when he wrote the following organ solo compositions? Suite for Organ, Op. 70, commissioned by Marilyn Mason Fantasy for Organ, Op. 74, commissioned by the Cleveland Chapter, AGO on = the occasion of the fiftieth anniversary of the guild. Rhapsioda Breve, Op. 81 (?) commissioned by Claire Coci.   I am looking in many places and finding nothing. Your collective wisdom = would be greatly appreciated.   Thanks so much! Richard Hazelip        
(back) Subject: Re: Ditties, was Nun Danket Alle Gott From: "Kenneth Potter" <swell_shades@yahoo.com> Date: Fri, 21 Nov 2003 21:29:51 -0800 (PST)         >Also another of his Chorale preludes (I can't remember which) for which >I was taken to task for playing the well-known ditty 'There's a hole in >your >bucket, dear Liza, dear Liza'.   >Any more suggestions for other things to avoid because they are so much >like >some irreverent ditty.   >Regards   >Bruce Miles   I love to play "Offertoire" by Leon Boellman for the prelude on my last Sunday before my vacation each summer. It seems to be loosely based on the well known chorale tune "I'll See You In My Dreams."   Ken Potter       =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=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=3D=3D Kenneth Potter, Organist/Director of Music St. Peter's Episcopal Church, Westchester Square, Bronx, NY 845/358-2528 <swell_shades@yahoo.com>, Austin Op. 2097 at: = http://www.nycago.org/Organs/html/StPetersEpBronx.html Randolph Organ Company, curators =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=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   __________________________________ Do you Yahoo!? Free Pop-Up Blocker - Get it now http://companion.yahoo.com/