PipeChat Digest #4296 - Monday, February 23, 2004
 
Re: Content Organs
  by <TubaMagna@aol.com>
pipe/digital tuning
  by "terry hicks" <Terrick@webtv.net>
Memphis Kimball
  by "First Christian Church of Casey, Illinois" <kzrev@rr1.net>
SF Chronicle article about Jack Bethards
  by "John Jarvis" <JLJarvis@comcast.net>
Re: Memphis Kimball
  by <quilisma@cox.net>
Mormon Organs
  by "John Jarvis" <JLJarvis@comcast.net>
FROM ONE WHO KNEW...Re: Memphis Kimball
  by <ScottFop@aol.com>
Re: FROM ONE WHO KNEW...Re: Memphis Kimball
  by "noel jones" <gedeckt@usit.net>
Re: PipeChat Digest #4294 - 02/21/04
  by "Christopher Howerter" <OrgelspielerKMD@msn.com>
Re: Mormon organs
  by <OMusic@aol.com>
Re: Mormon organs
  by "Eric McKirdy" <emckirdy@gladstone.uoregon.edu>
Re: another Richard White piece
  by "Jonathan Orwig" <giwro@adelphia.net>
 

(back) Subject: Re: Content Organs From: <TubaMagna@aol.com> Date: Sun, 22 Feb 2004 12:45:47 EST   Content Organs are actually differently marketed versions of = Reasonably Happy Organs. Both are the brainchild of More Than Just Satisfied Organs, = PTY. The technology is certainly an improvement over the work of the = Belgian firm, Seemingly Trapped in a Cripplingly Co-Dependent Relationship Organs, = from which several of the design engineers broke off to form the parent firm, Deliriously Overjoyed to be Alive Organs. This information comes from the Winter issue of their quarterly newsletter, "The Mirthful Diode." I am not a representative of the firm, = and have no financial interest in providing this information.   Sebastian M. Gluck New York City   ..  
(back) Subject: pipe/digital tuning From: "terry hicks" <Terrick@webtv.net> Date: Sun, 22 Feb 2004 15:38:01 -0600 (CST)   I'm not certain about "automatic tuning" with other companies, but the Ahlborn modules use a temperature sensor, and once you tune the module to the pipes it stays in tune all the time. A system that has to tune to pipes when you play is going to be out-of-tune until you start playing...yuck!    
(back) Subject: Memphis Kimball From: "First Christian Church of Casey, Illinois" <kzrev@rr1.net> Date: Sun, 22 Feb 2004 16:45:38 -0600   Wonder if the big Memphis Kimball would have filled the 21,000 seat Mormon Conference Center?   Dennis Steckley   Every gun that is made and every warship that is launched, signifies in the final sense a theft from those who hunger and are not fed, those who are cold and are not clothed--Dwight Eisenhower        
(back) Subject: SF Chronicle article about Jack Bethards From: "John Jarvis" <JLJarvis@comcast.net> Date: Sun, 22 Feb 2004 15:01:51 -0800   It was a delight to open my Sunday morning newspaper to find a rather = nice article about Jack Bethards and Schoenstein Organ company. Enjoy!   <http://www.sfgate.com/cgi-bin/article.cgi?f=3D/c/a/2004/02/22/BUGD855B41= 1.DTL >   =20      
(back) Subject: Re: Memphis Kimball From: <quilisma@cox.net> Date: Sun, 22 Feb 2004 15:29:36 -0800   No, but Atlantic City would have (chuckle).   Bud   First Christian Church of Casey, Illinois wrote:   > Wonder if the big Memphis Kimball would have filled the 21,000 seat > Mormon Conference Center? > > Dennis Steckley > > Every gun that is made and every warship that is launched, signifies in > the final sense a theft from those who hunger and are not fed, those who > are cold and are not clothed--Dwight Eisenhower > > > > "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: Mormon Organs From: "John Jarvis" <JLJarvis@comcast.net> Date: Sun, 22 Feb 2004 15:51:26 -0800   I'm not a Mormon so I can't speak for what happens in their local congregations. However, I was very privileged in about 1998 to visit = their organ studios and practice rooms at BYU. As other schools are killing = off their organ programs, BYU has a thriving organ training program within = their music department. One lab that I visited had at least a dozen Rodgers = self contained organs of fairly new vintage with a PC and Monitor assigned to each organ. My guide told me that this lab was in heavy use through out = the entire day. It seems that their focus is not so much to turn out the = latest concert artist but to prepare students to be a vital part of their = future congregations as the organist. Perhaps, the organ companies need to = focus more on the seminaries and other music training schools of various denominations. =20      
(back) Subject: FROM ONE WHO KNEW...Re: Memphis Kimball From: <ScottFop@aol.com> Date: Sun, 22 Feb 2004 19:42:44 EST   First Christian Church of Casey, Illinois wrote:   >Wonder if the big Memphis Kimball would have filled the 21,000 seat >Mormon Conference Center?     No, but Atlantic City would have (chuckle). > > Bud       Now, having grown up and cut teeth on that organ, I beg to differ. It = MORE than filled the Memphis Municipal Auditorium. The larger side (North Hall/Ellis Auditorium) with 74 ranks suffered from being installed above = the stage house in chambers that spoke directly into the fly space, and then the = sound had to waft down onto the stage and also out around the top of the proscenium = arch. Had it spoken directly into the hall it would have parted your hair AND = made your ears bleed, believe me!   The IDIOT administration in this town is headed up by a mayor who is = reeking havoc on Memphis during his multiple terms in much the same way Coleman = Young ruined Detroit in the late 60;s and 70's. It's exactly the same story = here, people. (Thank you, Mayor Willie Herrenton you BLITHERING IDIOT!) And = it's a damn shame that he and his administration put the wrecking ball to that landmark building.   The organ came out years ago, we all know that. Heroic efforts by AGO and =   OHS to save both it and the building failed, they didn't even get fair = hearings. In fact, it is a VERY sore subject with ANYONE organist in the Memphis = area. The double Kimball concert organ was put into storage in the basement of = the Cook Convention Center, whose horribly UGLY 1970 edifice managed to = survive while the massive auditorium came tumbling down and the Cannon Center for = the Performing Arts went up on the exact same spot. Yeah it's nice, but they = could have built it a block away and STILL had their damn new performing arts center. That's the problem in this town: if it's more than 10 years old- = TEAR IT DOWN!   Eventually, the 41 ranks of the smaller auditorium (South Hall) were sold = to Bartlett United Methodist Church, "restored" (if you want to call it that) = and installed with the addition of, what else- ranks of upperwork that doesn't =   begin to match the original 1928 pipework, pressures or scalings. (Isn't = a III rank Mixture and a super coupler on the Great enough??? LOL It was = certainly good enough for Charles Courboin who designed it!)   What remains of the 74 ranks of the larger auditorium (North Hall) organ = are still stored under the Cook Convention Center and, from what I have heard = and seen, are in pretty rough shape if not totally ruined by water damage and = from the battery they have received from being moved and rummaged through.   It's very sad. I remember playing that organ, I remember it vividly. I remember the enormous roar it produced. I remember the delay at the main = 5 manual console (which I still have photos of myself at as a teenager). I = remember rich and full diapasons and choruses which were silvery and rich but which =   weren't shrill by any means, no revoicing had ever been done to on that = incredible organ. I well remember those incredibly powerful tuba choruses and French =   Trumpets, there were nothing like Kimball reeds of that period. In fact, = I remember being a little scared of them as a young teen and not fully = understanding how tuba choruses worked and how they were supposed to be built. I = remember the 4 or 5 rank Echo division at the back of the hall in the upper right = hand corner (from the stage) above the corner of the uppermost balcony. It was =   soft, it was ethereal and it seemed as it were an angel chorus from on = high that took about 3 days to speak once you hit the keys on the console at the = stage in the other end of the room. I especially remember that 32' Bombarde, = whose low CCCC took about 45 minutes to completely fill with air and speak way = up in its lofty perch, but when it did- it literally shook the earth and made = the bench and console vibrate, it was incredible.   Unlike San Francisco however, which immediately began to lament IT'S city administration's decision to tear down the Fox Theatre just about the time = the last few bricks hit the ground, these backwater idiots in Memphis have no = clue of what they have lost. Nevermind the organ alone, what about the = monumental building into which it spoke for 70 years? A double auditorium with a = common stage which could visibly and acoustically be divided into two separate = halls with separate functions taking place simultaneously while neither side = heard anything from the opposing auditorium. The North Hall was originally = built as an arena with a stage which could be used for conventions or concerts. Originally it had just a flat concrete floor onto which chairs could be = arranged temporarily or bolted into frames in the cement work. The double = horseshoe wrap-around balcony was permanent and the seats closest to the stage = literally went all the way up to the front walls, common with the proscenium arch. Individuals sitting in those seats literally looked right into the side = wings. It sat, I believe, 12000 when filled to capacity and had adjustable ceiling = louvres which, when opened, dampened the reverberation due to the sound absorbent materials that were on the ceiling inside of the louvres. When closed, = one had 8-10 seconds and when the Kimball played, it was absolutely indescribable.   The South Hall was always intended to be just that, a performing = auditorium for stage events and concerts. It had standard permanent seating, and box =   seats on either side coming down the side walls and elevated from the main = floor. Then there was a large balcony divided into, I believe, two sections. The =   organ in that hall spoke out of four large square openings and right into = the balcony. One could sit in the uppermost rows and literally watch the = expression shades moving. When the chamber lights were on, it was really cool to see =   because not only did the shades move, but banks of pipes sat just beyond = them. Somewhere I have a recording of John Hooker's recital on the organs. He = was my organ teacher at the time, and had succeeded Adolph Steuterman at = Calvary Episcopal. I remember sitting up in the balcony with my Teac tape deck, = mics and headphones. I will never forget that evening. The stage was fully = opened and he used the south hall's 41 ranks as the antiphonal division(s) to the = main organ of the north hall. He ended the recital with Healey Willan's Introduction, Passacaglia and Fugue in Eb. What a sound!   Here is a link about the organ, its history, photos and specs:   http://home.earthlink.net/~marlinmackley/Kimball.html   Well, it's all gone now, and I thank God that I at least have the memories =   and the sound in my head, which I will NEVER forget. It was a massive = sound, a rich sound, a majestic sound, a triumphant sound. And it has been forever =   silenced as the result of ignorance.   Scott F. Foppiano Cantantibus organis Caecilia Domino decantabat.    
(back) Subject: Re: FROM ONE WHO KNEW...Re: Memphis Kimball From: "noel jones" <gedeckt@usit.net> Date: Sun, 22 Feb 2004 19:58:36 -0500   Scott (and all),   If I were you I wouldn't count on garbage pickup in Memphis anymore!   -- noel jones, aago    
(back) Subject: Re: PipeChat Digest #4294 - 02/21/04 From: "Christopher Howerter" <OrgelspielerKMD@msn.com> Date: Sun, 22 Feb 2004 22:25:22 -0500   Dear List,   I would like to say that indeed Sebastian has it right when he mentioned = about how off we've been concerning the registrations of Bach. I would = invite you all to purchase the CD made on the Nammburg Organ (perhaps = misspelled). This organ is the only surviving one that Bach designed, I = believe. There is even a website on it that has all of the restoration = processes on it. It is the organ with the blue stop jambs and the 16' = Principal on the Great, 32' Reed and Principal in the pedal, and no = mutations or independent 2's! So you can just throw away all of your 8' = 4' and 1 1/3', etc. neo-baroque, cutesy-pie registrations. :) When I = first heard the CD, it astounded me. It sounded quite "romantic" to me = ears, yet it was clear and somewhat bright, if you will. However, not = the type of bright that comes from a ten rank 2/3' mixture...HA!!! = Also, on an American organ, if the 8' Hautbois/Oboe is too present, then = it should not be used at all with the foundations. The St. Clothilde = organ Hautbois was very distant sounding as the Recit division was the = in the back of the case. This is why I believe (as in the PFV) that two = flutes were used with it, in order to beef-it-up, so to speak (I'm sure = Sebastian knows all about that...). :) Nevertheless, the same idea was = behind it's use with the Trumpet, I'm sure. I guess I've said enough = and I'm too tired to continue on...lucky for you...haha!   Cheers, Christopher J. Howerter, SPC Director of Music & Organist St. Paul's Lutheran Church Bethlehem, PA Cell: (610) 462-8017 Subject: Re: Books on registration - theory and practice From: <TubaMagna@aol.com<mailto:TubaMagna@aol.com>> Date: Sat, 21 Feb 2004 11:19:12 EST   It's not as simple as it looks, especially for French literature = of all=20 periods, where organbuilders and organist/composers collaborated and=20 communicated. Most French Classic organ literature cannot be = accurately played on=20 American organs, because most organs were designed with the wrong = stops in the wrong=20 divisions at the wrong pitches. And you might consider the 8' Hautbois a reed, but it was = considered part=20 of the foundations in 19th century French organbuilding. It was = frequently=20 drawn with all of the 8' flues in the Recit for a very specific sound, = and was=20 also often drawn with the Trompette. This is why the disastrous = American=20 practice of placing it at 4' makes it worthless, both in solo, and in = combination. Take the time to read some more scholarly works, like Fesperman's = tome on=20 The Language of the Classical French Organ, and study Rollin Smith's = writings=20 on performance practice in the Romantic period. Treatises on = organbuilding=20 can often tell you much more about registration than organ playing = books that=20 have gone through multiple editions without much scholarly updating = over the=20 decades. If you think our views on French registration are skewed, = wait until you=20 find out how off we have been about the sounds that Bach might have = heard.   Sebastian M. Gluck New York City    
(back) Subject: Re: Mormon organs From: <OMusic@aol.com> Date: Mon, 23 Feb 2004 00:40:22 EST   According to Keith, who was once organist in a Mormon church, only the janitor is paid. All other staff is volunteer. He took the position = because he wanted to play and did not have a position at the time. Most of the = churches have large turnovers with organists and musicians. Eyrline    
(back) Subject: Re: Mormon organs From: "Eric McKirdy" <emckirdy@gladstone.uoregon.edu> Date: Sun, 22 Feb 2004 21:49:16 -0800   On Sunday, February 22, 2004, at 09:40 PM, OMusic@aol.com wrote:   > Most of the churches have large turnovers with organists and musicians.   I must strongly and respectfully disagree with this, based on 27 years of first-hand observation.  
(back) Subject: Re: another Richard White piece From: "Jonathan Orwig" <giwro@adelphia.net> Date: Sun, 22 Feb 2004 22:42:38 -0800   Re: another Richard White pieceHello, Alan   Glad you are enjoying it - for this type of music the Marcussen really = sounds better.... it's sorta "Bachian" and the Schantz is a more romantic sound.   I prefer a more romantic organ, but I cannot dispute the superior = clarity of the Marcussen!   I like that many of his compositions are hymn or chant-based.... they = make great prelude/postlude material. I'll keep the lists informed of further recordings as I have = time to post them.   Feel free to share the links on Organchat if you like as well.   All the best,   -Jonathan   ----- Original Message -----=20 From: Alan Freed=20 To: PipeChat=20 Sent: Saturday, February 21, 2004 11:26 AM Subject: Re: another Richard White piece     On 2/21/04 12:15 AM, "Jonathan Orwig" <giwro@adelphia.net> wrote:     Enjoy     What an extremely easy instruction to follow! I AM [enjoying].   I'm a Scandinavian, though not a Dane, but I think that even if I were = not, I'd prefer the Marcussen over the Schantz. But each has its great = worth.   I'm forwarding the URL to a couple of organists who are NOT on the = list, and hope it results in a sale or two. =20   Alan