PipeChat Digest #4347 - Saturday, March 6, 2004
 
Re: St.Turibius
  by "Alicia Zeilenga" <azeilenga@theatreorgans.com>
Re: Illuminated stop controls
  by <OMusic@aol.com>
Re: console apparati and cool stops
  by <OMusic@aol.com>
Re: Fast and Loud Lent Music
  by "Robert Lind" <lindr@core.com>
RE: Selective expression and "infinite frustration"
  by "Andrew Mead" <mead@eagle.ca>
Re: console apparati and cool stops
  by <quilisma@cox.net>
A hymn story and a concert
  by <OMusic@aol.com>
Re: music notes in the bulletin?
  by "T.Desiree' Hines" <nicemusica@yahoo.com>
Re: Illuminated stop controls
  by "T.Desiree' Hines" <nicemusica@yahoo.com>
Re: Felix Hell.  Announcement of his 350th recital.
  by <OMusic@aol.com>
Worcester MA USA
  by "Judy A. Ollikkala" <71431.2534@compuserve.com>
Re: Certain Organ apperiti and their first appearances.
  by <OMusic@aol.com>
Re: Certain Organ apperiti and their first appearances.
  by <OMusic@aol.com>
Re: Illuminated stop controls
  by "Ken" <mewzishn@optonline.net>
Re: Monty's New Ruffati
  by <RMB10@aol.com>
Re: Expression selectors
  by <RMB10@aol.com>
RE: console apparati and cool stops
  by <RMB10@aol.com>
Re: console apparati and cool stops
  by "Ken" <mewzishn@optonline.net>
second touch/double touch and stuff that works
  by "james nerstheimer" <enigma1685@hotmail.com>
Re: Expression selectors
  by <quilisma@cox.net>
Richard White page updated: New MP3
  by "Jonathan Orwig" <giwro@adelphia.net>
Re: second touch/double touch and stuff that works
  by "Ken" <mewzishn@optonline.net>
 

(back) Subject: Re: St.Turibius From: "Alicia Zeilenga" <azeilenga@theatreorgans.com> Date: Fri, 05 Mar 2004 21:23:54 -0600   In fact, he confirmed her with the name Rose. Her baptismal name was Isabella, after her grandmother. Alicia Zeilenga "Santa Caecilia, ora pro nobis"     -----Original Message----- From: "T.Desiree' Hines" <nicemusica@yahoo.com> To: PipeChat <pipechat@pipechat.org> Date: Fri, 5 Mar 2004 09:09:10 -0800 (PST) Subject: Re: St.Turibius   > St. Turibius was a contemporary of St Rose of Lima. I will learn more > as I become more seasoned here. > > > > From Desiree' > T. Desiree' Hines > Chicago, IL 60649 > http://concertartist.info/bios/hines.html > > --------------------------------- > Do you Yahoo!? > Yahoo! Search - Find what you=92re looking for faster.      
(back) Subject: Re: Illuminated stop controls From: <OMusic@aol.com> Date: Fri, 5 Mar 2004 22:36:15 EST   At some church in New York, when GDH started to set the pistons, he set = some to spell out a word which ordinarily would not be in a church. I have = this information from a reliable source. Lee    
(back) Subject: Re: console apparati and cool stops From: <OMusic@aol.com> Date: Fri, 5 Mar 2004 22:39:53 EST   Nitsua is Austin backward and they also made another stop Magnaton 32 = foot, which is a Diaphone. If this is not correct, please note. There were not = many made and most have been replaced or are inoperable. Lee    
(back) Subject: Re: Fast and Loud Lent Music From: "Robert Lind" <lindr@core.com> Date: Fri, 5 Mar 2004 22:02:53 -0600   In my early 20s I was a cathedral organist and later worked at Church of = the Ascension, Chicago, so I was used to minimal organ playing during Lent. Nowadays I play in an ELCA church and, in talking and working with the pastors for some years now, we've agreed to such things, e.g., that last week's emphasis on the temptation of Christ in the wilderness (and the use of the opening hymn "A Mighty Fortress") is not exactly a time for wimpyness. I'm sure I could accede to the wishes of clergy in whatever situation I'm in but am pleased at present to look at the Lenten = scriptures and go with the inherent drama. This week Jesus says "Go tell that = fox...." We aren't exactly dealing with a guy with no cojones, if you'll pardon my non-French, and my music reflects that.   Robert Lind   ----- Original Message ----- From: Shaun Brown <S.D.Brown@exeter.ac.uk>     > Why on Earth do you want fast and loud music in lent. What's wrong with > the vast arrays of quiet, reflective music that the rest of the world > uses!      
(back) Subject: RE: Selective expression and "infinite frustration" From: "Andrew Mead" <mead@eagle.ca> Date: Fri, 5 Mar 2004 23:03:23 -0500   Tuba Magna wrote:     Casavant also used the expression selectors, at least through the = 1920s, if not longer. Beautifully made ivory sliders that assigned various sets = of blades to different balanced pedals were up above the fourth or fifth manual. The 1929, opus 1367, 5 manual Casavant at Metropolitan United, Toronto has this feature incorporated into the console. This was not the largest organ Casavant made but with 30 ranks of reeds it may have been the largest = tuning nightmare/challenge they ever created for those who serviced it. I've not seen this organ for about 10 years but I spent enough time = amongst the pipes and at the console before that time that I could not help but = fail to forget the opus number and year of manufacture. AjM          
(back) Subject: Re: console apparati and cool stops From: <quilisma@cox.net> Date: Fri, 05 Mar 2004 20:22:07 -0800   The Magnaton in Balboa Park still works, as far as I know ... the big outdoor Austin in the pavilion.   Cheers,   Bud   OMusic@aol.com wrote:   > Nitsua is Austin backward and they also made another stop Magnaton 32 > foot, which is a Diaphone. If this is not correct, please note. There > were not many made and most have been replaced or are inoperable. Lee      
(back) Subject: A hymn story and a concert From: <OMusic@aol.com> Date: Fri, 5 Mar 2004 23:21:54 EST   I am always amazed when people whistle or hum the tune to the Postlude = when I play a hymn tune. That stays in their minds as they are leaving, in = contrast to a classical organ work. Of course, I love to open the organ (pull out = all the stops) and dive into a Toccata, etc., but I have mixed feelings here. In this week's newsletter there was a story about a hymn that I think you =   will enjoy. I have permission to send it to you. "In the 1970's, Horatio Spafford was a successful Chicago lawyer and a = close friend of evangelist, Dwight L. Moody. Spafford had invested heavily in = the real estate, but the Chicago fire of 1871, wiped out his holdings. His = son had died shortly before the disaster. Spafford and his family desperately = needed a rest so in 1873 he planned a trip to Europe with his wife and four daughters. While in Great Britain he also hoped to help Moody and Sankey = with their evangelistic tour. Last minute business caused Spafford to delay his departure, but he sent his wife and four daughters on the S. S. Ville Du = Havre as scheduled, promising to follow in a few days. On November 22, the ship = was struck by the English ship Lochern and it sank in twelve minutes. Several days = later the survivors landed at Cardiff, Wales and Mrs. Spafford cabled her = husband the brief message, 'Saved alone.' When Horatio Spafford made the ocean crossing to meet his grieving wife, he sailed near the place where his = four daughters had sunk to the ocean depths. There, in the midst of his sorrow, he wrote =   these unforgettable words that have brought solace to so many in grief:" "When peace, like a river, attendeth my way, When sorrows like sea billows roll, Whatever my lot, Thou hast taught me to say, It is well, it is well with my soul. Though Satan should buffet, though trials should come, Let this blesssed assurance control, That Christ hath regarded my helpless estate, And hath shed his own blood for my soul." Chorus.   A postscript to this is very personal. The wife of the music director at = the church from which I came, College Heights in Chickasha, OK, was diagnosed with class 4 cancer. Before her chemo started she sang this hymn, very = weakly, but very emotionally. She passed away several weeks later at age 54. She = was one of my best friends and I still shed tears upon hearing or playing this =   hymn. She was a wonderful Christian lady and the ultimate grandmother. = She kept the music program in the Chickasha schools going and it is now being = cut. Only God knows the reason for her untimely death. We went to a concert last Tuesday at University Christian Church in Ft. Worth. The first part of the program was Nancianne Parrella, Organist, = from New York's St. Ignatios Loyola. Her progam was as follows: Choral-Improvisation sur le "Victimae paschali" Reconstituees par Maurice Dururle', by Charles Toumemire (1879-1939) Dialog: Prelude with Choral by Ester Magi (b.1922) Suite Bre've "Dialogue sur les Mixtures" by Jean Langlais (1907-1991) Symphonie No. 6, op. 42 No. 2, Cantabile and Finale by C. M. Widor (1844-1937)   The second half of the program was the Texas Christian University Concert Chorale, Ronald L. Shirey, Conductor and Nancianne Parrella, Organist = singing the Durufle' Requiem.   It was all wonderful. I couldn't begin to give a report like Malcolm, and =   most of you know the pieces. Everything was exceptionally musical and beautiful. There was complete silence for about 30 seconds after the = Requiem, it was so moving. The Organ is by Garland Pipe Organs, Inc -- Dan Garland of Ft. Worth. It uses many of the old Reuter pipes. The two new oak cases display polished = zinc and pure tin pipes across the front of the Chancel wall on either side of = the cross and the round window. A lift has been installed under the floor on = which the console rests, allowing the console to be lowered for worship, or = raised to the main Chancel floor level. This organ is the 40th major project completed by Garland Pipe Organs, Inc. If anyone is interested in = specifications of this organ, please let me know and it will be supplied. The concert and = organ was enjoyed by all. Nancianne Parrella is an accomplished organist of the =   highest rank. I am sure Mr. Wechler may have more to say on this. Lee      
(back) Subject: Re: music notes in the bulletin? From: "T.Desiree' Hines" <nicemusica@yahoo.com> Date: Fri, 5 Mar 2004 20:22:21 -0800 (PST)   Hey there! Oh certainly program notes come across very well in Church. I place them = each week at ST Turibius. It suprises me how many people notice the = changes in organ playing in contrast to my predecessor, and they often say = "thank you for teaching us" Im doing Litanies on Palm Sunday as one of the voluntaries, probably = prelude and I plan to put the incription from the piece and tell a little = about the history of him and his life.     RMB10@aol.com wrote: During February, in honor of Black History Month, all of my organ music = was by African-American composers. In the bulletin, I put brief bios = about the composers and had short "program notes" about the pieces. The = first couple of weeks, I didn't hear any feedback about it, but the past = few weeks, people have been coming up to me saying how much they = appreciated the notes and that they found the bios interesting. Do any of = you do music notes in the church bulletin on a regular basis--I mean other = than on special occasions such as Christmas music or the Children's Choir = performance? I'm thinking of doing this on a regular basis (well, as = space permits) because even the secretary who does all our graphic design = work has gotten into it. One week I forgot to attach the bio of the = composer to the email I sent her with my music for the week, so she went = on the internet and did research and sent me a bio for my approval before = she published the bulletin. I just wanted other people's thoughts on this. I had never done it before, but I thought that for = Black History Month, I would highlight some of the composers I was = playing, and it obviously went over well with my congregation. Monty Benett     From Desiree' T. Desiree' Hines Chicago, IL 60649 http://concertartist.info/bios/hines.html   --------------------------------- Do you Yahoo!? Yahoo! Search - Find what you=92re looking for faster.  
(back) Subject: Re: Illuminated stop controls From: "T.Desiree' Hines" <nicemusica@yahoo.com> Date: Fri, 5 Mar 2004 20:26:24 -0800 (PST)   Theres a big Wicks console in CA with 5 manuals and tilt tabs. And I think = the console to the Ruffatti in Roxy Grove hall at Baylor has a Tab = console.     RMB10@aol.com wrote: >Stop tablets on burbed jambs that move ccan be cute too. I'm assuming that Desiree means a stop tablet layout such as in a theatre = organ. When we were designing the new organ, I was trying to figure out a = way to keep the console profile low, and we talked about possibly doing = the European style of tilting tablets on the side jambs, but it was only = going to save me about 1/2"-1" in console height, so I opted to just go = with the "traditional" drawknobs. If I could have saved a considerable = amount of console height, I would have considered other options, but with = a five manual console and about 225 stop controls, plus another 42 = couplers, what ever I did was going to take up a huge amount of space. Monty Bennett     From Desiree' T. Desiree' Hines Chicago, IL 60649 http://concertartist.info/bios/hines.html   --------------------------------- Do you Yahoo!? Yahoo! Search - Find what you=92re looking for faster.  
(back) Subject: Re: Felix Hell. Announcement of his 350th recital. From: <OMusic@aol.com> Date: Fri, 5 Mar 2004 23:33:16 EST   Sorry we will not be able to attend, as we will be in Brownsville tuning = and voicing an organ. (I get to hold the keys). We are going to try to make = at least one of his concerts this year. I hear nothing but praise for his = playing here in the Dallas/Ft. Worth area. We will never forget him or you and = words cannot tell of our appreciation. Fondly, Keith and Lee    
(back) Subject: Worcester MA USA From: "Judy A. Ollikkala" <71431.2534@compuserve.com> Date: Fri, 5 Mar 2004 23:42:52 -0500   There are 8 pipe organ recitals happening in Worcester MA during the month of March. No tickets needed for any except the workshop. Listings: Mar. 7 All Saints Episcopal, Irving & Pleasant Sts. 5pm Peter Krasinski & Renea Waligora, refurbished 1933 Aeolian-Skinner 4M.   Mar. 14 All Saints " 5pm Dr. Francis Jackson, O.B.E. Organist Emeritus of York Minster, England, recital in memory of Ronald Stalford. (Dr. Jackson was age 86 last October) Dr. Jackson is also doing a choral rehearsal workshop on Sat. Mar. 13 from 10 to 1:30, includes lunch, scores, observation and discussion. Advance registration and fee of $35. necessary. Dr. Jackson has composed = an anthem for the choir, and will work with them on this & on 3 Bairstow anthems. See website: www.allsaintsw.org Mar. 19 Cathedral of St. Paul, Chatham St. 7:30pm Peter Kranenfoed, Artist Diploma Recital, Boston Conservatory, student of James David Christie, Stephen Russell reb. of Casavant/Johnson/Wicks   Mar. 21 Holy Cross College Chapel, 3pm Dr. Carole Terry, Seattle WA, Taylor & Boody 1985 4M.   Mar. 21 Blessed Sacrament RC, Pleasant St., 3pm Worcester Chapter AGO Members Recital, Ian Watson (St. Paul's Cathedral), Lois Toeppner (St. Luke's, Sudbury) Becky Noone, (Blessed Sacrament). E. M. Skinner 1920's intact 3M.   Mar. 21 All Saints 5pm Peter Stoltzfus (O/CHM at All Saints, Worcester)   Mar. 28 St. Joseph RC Church, 35 Hamilton St. off Grafton St. 3pm = Lucia Clemente-Falco, Organ & Stacey Mott, Flute Casavant Freres intact 1928 3M.   Mar. 28 All Saints 5pm Mark Dwyer (Albany NY Cathedral of All = Saints)   also April 4 Holy Cross College Chapel, 3pm Jean Ferrard, Belgium and April 25 Holy Cross " 3pm Jean-Pierre Leguay, Notre Dame, Paris   Submitted by Judy Ollikkala  
(back) Subject: Re: Certain Organ apperiti and their first appearances. From: <OMusic@aol.com> Date: Fri, 5 Mar 2004 23:52:39 EST   Keith has some pictures of the organ at St. George's church in NYC. The pipes - trumpets were fanned out from a clock in the center of the display = and it is possible they were false pipes. The appearance of the organ with the = great exposed in front of an exposed swell box with shades in the open and the = stop action - the levers opperating the stop action clearly visisble gave it = the appearance of a modern Holtkamp organ. Lee and Keith    
(back) Subject: Re: Certain Organ apperiti and their first appearances. From: <OMusic@aol.com> Date: Fri, 5 Mar 2004 23:57:34 EST   Isn't the Los Angeles Art Organ Company the one that started the = Wanamaker? Lee    
(back) Subject: Re: Illuminated stop controls From: "Ken" <mewzishn@optonline.net> Date: Sat, 06 Mar 2004 00:22:39 -0500     On 5 Mar 2004, at 8.53 PM, John L. Speller wrote:   > I'm told that G. Donald Harrison of Aeolian-Skinner, when he came > across lighted drawknobs on large instruments, used to set the > combinations to spell out obseen words in lights.   I was unaware of the wide-spread existence of lighted drawknobs that long ago. Perhaps you're thinking of me, who has done that on two occasions, but only for the entertainment of colleagues and on consoles which could not be seen by the general public. This was back when large combination actions were rare, and I'd wished for lots more generals so one could create a 'moving message' by having the letters appear from right to left in sequence, thus permitting an entire sentence to written.   This can also be done, to more subtle effect, on moving-drawknob consoles.   Kenneth L. Sybesma Choirmaster and Organist Church of the Advent, Westbury NY Temple Organist & Director of Children's Music Temple Or Elohim, Jericho NY    
(back) Subject: Re: Monty's New Ruffati From: <RMB10@aol.com> Date: Sat, 6 Mar 2004 00:32:31 EST   >Monty said: , but with a five manual console and about >225 stop controls, plus another 42 couplers, what ever I did was going to >take up a huge amount of space. > >Gee, Monty--life is tough, ain't it?! Wish I had a problem like that! = ;>) > > >Dennis Steckley   I have to say that it is indeed an honor to get to play at a church that = puts enough stock in it's music program to want an organ of that magnitude, however, what got me to a church like Friendship Baptist was by working hard, a lot = of prayer, and a lot of humility. I don't have to go around tooting my own chamade telling people how good I am and all the works I can play. I just = do my thing and let my music speak for itself. My attitude (or lack thereof) at = the church just further supports that. Like the old adage says, "you reap = what you sow." I guess I have been a blessing through my music and God is = blessing me with an instrument in which to offer praise to God and to minister to = the congregation. So, yeah, I can laugh about needing a lot of room for the = console and all it's controls, but it's going to be huge, but it's going to be put = to good use and for the right use--not to bring me glory, but to give God = glory.   Monty Bennett    
(back) Subject: Re: Expression selectors From: <RMB10@aol.com> Date: Sat, 6 Mar 2004 00:36:46 EST   I think Aeolian used expression selectors on the organ at Duke Chapel. I don't know if this was standard practice on their instruments or not, as = most of the Aeolian organs I've played have been rebuilt and don't have original consoles on them.    
(back) Subject: RE: console apparati and cool stops From: <RMB10@aol.com> Date: Sat, 6 Mar 2004 00:41:13 EST   >Didn't Ruffatti use those light-up drawknobs in the past? Rodgers did = and >still does if you want them.   Correct me if I'm wrong, but Ruffatti never used light up stops that I = know of. They have always used either drawknobs or rocker tabs. Rodgers still = uses the light up drawknobs or rocker tabs as the standard and moveable = drawknobs as an option on some models. When Rodgers was building Gemini organs with =   Ruffatti back in the 70's, they used Rodgers consoles and Ruffatti = pipework, that may be where you got the idea that they used light up drawknobs. I think Rodgers gets their drawknobs from the Syndyne Corporation.   Monty Bennett    
(back) Subject: Re: console apparati and cool stops From: "Ken" <mewzishn@optonline.net> Date: Sat, 06 Mar 2004 00:45:53 -0500   On 6 Mar 2004, at 12.41 AM, RMB10@aol.com wrote:   > Correct me if I'm wrong, but Ruffatti never used light up stops that I > know of.   Only lighted thumb- and toe-pistons, from what I can recall.   Kenneth L. Sybesma Choirmaster and Organist Church of the Advent, Westbury NY Temple Organist & Director of Children's Music Temple Or Elohim, Jericho NY    
(back) Subject: second touch/double touch and stuff that works From: "james nerstheimer" <enigma1685@hotmail.com> Date: Fri, 05 Mar 2004 23:59:52 -0600   I am curious as to whether or not the employment of second touch was ever used in anything other than theatre organs (aside from the Atlantic City Convention Hall organ). Seems it would be easier to use than the melody couplers one is finding more and more these days. You get a curious = effect with these if you don't play the soprano line ABSOLUTELY legato!   Also, has anyone aside from Ruffatti in recent years included Automatic Suitable Bass? (They call theirs Proper Automatic Pedal.)   There seems to be quite a movement toward the French terraced style of console these days. Ascension in Chicago got one of these recently. = Nicely done, but the stop jambs are straight and not angled in toward the player. = Very difficult to hand register as you have to lean to either side to find =   what you're looking for and then invariably, it's over on the other side with the rest of the division! The old Schlicker "breadbox" console was SOOO much easier to use!   If Monty is concerned with keeping the console profile low (what is it, 5 manuals?) perhaps Ruffatti should bring back the style of rocker tab = console they used to build? I think these looked rather elegant.   Speaking of European style consoles, I have fond memories of the = Steinmeyer I used to spend hours at when in stationed in Schweinfurt, Germany in my Army days. This was a 1951 vintage of some 60 ranks in the = Johanneskirche. This was the only organ I encountered that I could successfully glissando = on the pedals! They depressed only about 1/8". It had this big voltmeter in =   the dashboard right above the "radio tuner" Rollschweller indicator. With =   the abundance of polished wood inside, it had quite a Mercedes-Benz feel = to it! In the winter when it was verrrry cold in the unheated church, you would pull this three-sided windowed screen on casters around you and turn =   on the electric heater under the seat. Kept my buttox cozy but not much else! All the pews BTW were also fitted with these heaters. Utter luxury =   by comparison to other European churches!   The combination system consisted of four "Freie Kombination" pistons, one red "Ausl=F6ser" piston, and above each rocker tab, four mini-drawknobs = which you could not only use to set your pistons, but also to manually register while in "piston mode". There would be this satisfying and quiet "clunk" from somewhere deep inside the console when the system engaged. The thing =   worked flawlessly in 1985 when I was there. A finely crafted console to = be sure. The organ? Not a cipher or dead note to be found. The organist there was a kindly old gentleman by the name of Armin Christ who also = played at St. Salvatore in the same city. He would let me play the postlude occasionally!   If I'm not mistaken, there is a big Steinmeyer in Altoona, PA. from the early 30's and still in original condition. Hey, if it ain't Baroque, = don't fix it!   jim   O):^)   _________________________________________________________________ Get business advice and resources to improve your work life, from = bCentral. http://special.msn.com/bcentral/loudclear.armx    
(back) Subject: Re: Expression selectors From: <quilisma@cox.net> Date: Fri, 05 Mar 2004 22:29:05 -0800   I seem to recall them on the original console at Longwood Gardens, and also on the new replica.   Bud   RMB10@aol.com wrote: > I think Aeolian used expression selectors on the organ at Duke Chapel. > I don't know if this was standard practice on their instruments or not, > as most of the Aeolian organs I've played have been rebuilt and don't > have original consoles on them.      
(back) Subject: Richard White page updated: New MP3 From: "Jonathan Orwig" <giwro@adelphia.net> Date: Fri, 5 Mar 2004 22:37:50 -0800   Hello, friends -=20   I've updated my Richard White page with the Fugue in G major   http://www.blackiris.com/orwig/white/   or the direct link if you prefer:   http://www.blackiris.com/orwig/white/WhiteGfugue.mp3   This completes the Prelude and Fugue in G   On to the F-minor!   -Jonathan Orwig  
(back) Subject: Re: second touch/double touch and stuff that works From: "Ken" <mewzishn@optonline.net> Date: Sat, 06 Mar 2004 01:46:13 -0500     On 6 Mar 2004, at 12.59 AM, james nerstheimer wrote:   > Also, has anyone aside from Ruffatti in recent years included > Automatic Suitable Bass? (They call theirs Proper Automatic Pedal.)   And if you're not careful how you play when it is engaged, you can get a P.A.P. Smear.   Kenneth L. Sybesma Choirmaster and Organist Church of the Advent, Westbury NY Temple Organist & Director of Children's Music Temple Or Elohim, Jericho NY