PipeChat Digest #4885 - Monday, November 8, 2004
 
The piano in the chapel
  by "Glenda" <gksjd85@direcway.com>
RE: Jarle's Harmonium
  by "Andrew Mead" <mead@eagle.ca>
RE: Celestes below tenor C
  by "Andy Lawrence" <andy@ablorgans.com>
RE: Small Organs...without shades.
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Re: Small Organs...without shades.
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
RE: Small Organs...without shades.
  by "TheShieling" <TheShieling@xtra.co.nz>
Re: Today's Music
  by "T.Desiree' Hines" <nicemusica@yahoo.com>
All Saints Sunday in NYC
  by <OrganNYC@aol.com>
Re: Today's Music
  by "Jan Nijhuis" <nijhuis@email.com>
St. Paul's on 5th Ave. - John Scott
  by "Malcolm Wechsler \(Mander Organs\)" <manderusa@earthlink.net>
 

(back) Subject: The piano in the chapel From: "Glenda" <gksjd85@direcway.com> Date: Sun, 07 Nov 2004 19:23:51 -0600   The piano in the chapel   I may do some of my best work in the early morning, but I'm not my best in personality in the morning. There used to be an unwritten rule around the office when I was a Department attorney - the "five minute rule". One knew better than to walk in on me before there was lipstick on my face and an open Diet Pepsi in my hand. I spent all the waking minutes before getting to work trying to remember all I had to do, arranging arguments for presentation in court and meetings, and talking it over with an unseen God. This was also a creative time, when musical notes and dramatic vignettes would flit around in the shower with me before disappearing back into their oblivion.   Anyway, I had agreed to play piano for the early Methodist service, which began at the ungodly hour of 8:30 about 30 miles away. I think I was the first one there. I had reviewed my tiny repertoire of sacred piano music. When I played piano for the Anglicans it was always classical, but I was a bit rusty on some of that, not having been faithful to my piano lately. I downed my Diet Pepsi, applied my lipstick, and went in to arrange my selections and ditties carefully.   As others arrived and began checking their microphones, the minister of music also appeared, went over to the system and checked his canned music for his solo. A rumbling started inside me, and I heard a voice inside me growling, "If you play my music during this service, I'll materialize and bash your brains against the bricks."   Well, now I'm not afraid of a dead Beethoven or hallucinations of same, but all the same his Adagio cantabile from the Sonate Pathetique was obviously not appropriate, much less the other two movements. So I played an arrangement of "This is my Father's world" for prelude instead.   This is one of those churches that provides a bulletin to its members, then promptly disregards it. All those regular members know the order of service, but one subbing for the first time is clueless. The church secretary had told me that the anthem solo was sung during the offertory, but when offertory came, the minister of music looked at me. So I improvised an offertory.   So the service looked something like this:   Prelude - This is my Father's world Announcements Hymn - There is a fountain filled with blood Affirmation of faith and Gloria Patri Prayer - Come thou fount of every blessing Offertory - What wondrous love is this Doxology Anthem - some contemporary song that kept saying "I praise you God, I worship you forever, yeah, baby, yeah, baby" (the last bit I added to spice it up)   It was communion Sunday, so I had to play soft music: I want to walk as a child of the light Jesus calls us o'er the tumult (St. Andrew) My song is love unknown (Love unknown) My Shepherd shall supply my need (Resignation) There is a Balm in Gilead Not their standard fare, but inasmuch as I was the sub, I had to give them something new to think about, and it was pretty Protestant. Besides, I kept my promise about eschewing the 25 variations of "Sweet Hour of Prayer".   The minister skipped the stated invitational hymn, and instead we sang two verses of   I come with joy (Dove of Peace)   I had worried about what to pull out for postlude, but threw caution and Beethoven to the winds. I made it short and sweet - the 2-page Allegretto from the Moonlight Sonata. Then I drove home, changed out of my tan suit and collapsed for a well-deserved nap.   I realize that I just don't understand God. I'm just as guilty of trying to make him see my way as everyone else is. Why the organ lessons, why the taste of beauty and order of the Anglican service, if they're not to be experienced? I thought if I did my time, I would be rewarded eventually. But that is not to be, not here, not now. I think I am being called to a very different life from what I painted for myself, and I keep wondering if I am up to it.   Glenda Sutton gksjd85@direcway.com          
(back) Subject: RE: Jarle's Harmonium From: "Andrew Mead" <mead@eagle.ca> Date: Sun, 7 Nov 2004 21:41:12 -0500   I've worked on a few pressure Harmoniums from France. They are a = completely different kettle of fish than their American counterparts. I would say there's at least 10 X more labour and parts involved. One could be tempted to think the difference between pressure and suction action involves everything being reversed. Not the case. Not even close.   The pressure harmoniums are difficult to tune and depending on where you live in the world....don't, please don't allow the harmonium to become "baked" during the winter should you have forced air heat in your house. Every Harmonium I worked on in terribly cold Toronto years ago succumbed = to the low humidity conditions prevalent in most homes in Toronto during "heating season". Wood channels within the harmoniums contracted and split and "bleeds" became terribly common and I found them very difficult to repair. These conditions, I understand, generally do not exist in Europe where they were built. I think it was 3 winters ago when the NE USA went through one of the = longest cold snaps in recorded history (that's redundant,if it's not recorded it ain't history). Anyone servicing pipe organs that winter in the North East and East Canada will not forget the torrent of calls from clients in February, almost all of them wondering what on earth was going wrong with their pipe organs. It was exhausting trying to keep everyone happy.   So, keep the humidity in the safe zone. Buy a humidifier and use it.   Happy playing, AjMead I just looked at your email address and realized I was "barking up the = wrong tree". You live in the UK. I was going to trash this but I just invested some time and thought concerning an item that might be of value to someone reading, so I'll post it anyway.   -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org]On Behalf Of TubaMagna@aol.com Sent: Sunday, November 07, 2004 6:55 PM To: jarle_fagerheim@yahoo.co.uk; pipechat@pipechat.org Subject: Jarle's Harmonium     Jarle, can you tell us how responsive it is to touch, especially to repetition? "Free" reeds can be slow in speech, which makes them good for imitating strings in the 16' octave, but I have heard that repetition can be a = problem with harmoniums. American free-reed organs from the late 19th and early 20th centuries have very sluggish speech and poor repetition. The French supposedly had a better handle on construction, and it also seemed to depend upon whether they worked by pressure or suction.   Sebastian M. Gluck New York City   ****************************************************************** "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 List-Subscribe: <mailto:pipechat-on@pipechat.org> List-Digest: <mailto:pipechat-digest@pipechat.org> List-Unsubscribe: <mailto:pipechat-off@pipechat.org>        
(back) Subject: RE: Celestes below tenor C From: "Andy Lawrence" <andy@ablorgans.com> Date: Sun, 7 Nov 2004 22:03:43 -0500   This is an excellent point. But I think an even better solution would be (if electric or EP action) to have an expressive great duplexed over two manuals instead. If tracker action, how about either/or action?   I do appreciate some the clever solutions of old. I'm assuming the organ = you are referring to is old. I have mentioned here a one-manual Nutting I = have played here in Vermont, and was quite taken by it. It had a few part- compass stops, and only 13 pedal keys (with 13 note subbass in addition to =   the coupler) and yet I was amazed at what it could do for a small organ... =   just an amazing sound. If starting from scratch I might consider doing = the same thing, but if I was going to make it any bigger I'd fill out the compasses before adding ranks I think. Especially if I could unify it... I'm a big unification fan, even in larger organs. I'm not talking about = the old wicks/moller/etc method of course... no 97-note principals! But duplexing and the occasional extension can be a powerful thing for flexibility. (Remember... an extension up or down an octave is no = different than an octave coupler!).   Also, it is no problem to add an offset chest to a slider chest. If electric action, its a piece of cake. If its a tracker, it gets a little messier, since the offset will have to either use electricity or = pneumatics, but it is frequently done.   Andy   On Mon, 8 Nov 2004 13:30:54 +1300, TheShieling wrote > >IMHO one full compass stop is worth several part-compass ones. Any = stop > worth having is worth _really_ having. I include undulants in this. > I have > > only experienced a full-compass celeste once, but it was so cool to > be able to use it in the pedal that I think it was worthwhile. > > In the UK recently, I played an organ that had a GGG compass on the > Great, yet the Swell went down only to TenF. Having heard the > organist use this instrument for a service, and having tried it > myself, I can assure you that that short-compass Swell is worth its > weight in gold for trios, chorale prelude and classic French solos, > in fact a huge variety of things. Far far better to have that than > another couple of stops on an already excellent Great. > > >Note to builders and technicians (and organists overseeing organs) however: > > If a rank is missing a bottom octave and there is no preparation for > one, although it would be nice if the preparations had been made, it > is usually possible to add it with an offset chest. > > This latter is very true. No trouble at all adding bottom octaves > with a non-slider chest. If it is a slider chest, you can generally > bore through the chest and use up-coming wind to fire an action to > an off-set chest, winding the pipes on that through an extra trunk. > Works well. Seen it a number of times.   > > Ross >     A.B.Lawrence Pipe Organ Service PO Box 111 Burlington, VT 05402 (802)578-3936 Visit our website at www.ablorgans.com  
(back) Subject: RE: Small Organs...without shades. From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Sun, 7 Nov 2004 19:40:18 -0800 (PST)   Hello,   Following a major computer blow-up....smoke and awful smells....very catholic.....I have to make a couple of points Re: Ross Wards comments.   As Ross knows, the organ I play does not have shades (sunglasses? eh?)   Instead, it has a couple of doors which close over the positive organ. Thus, I can play the organ and make either a tiny sound like a cabinet organ, or using the very full, fundamental tones of the Great Rohrflute, use the closed Positive as a solo division for CP's etc., but at a very much quieter level than normal. What I cannot do is shade anything.   I expect therefore, that the organ does not wear shades, but has two blinkers!   Secondly, regarding the evolution of the Anglican Organ.   The really effective, very thick, often sand-filled swell boxes of late Victorian origin, were just that....quite late.   Before about 1870, not only were Swell boxes fairly limited in their effectiveness, the Swell organ was very, very much quieter than the Great, with often very thin reed tone and often no 16ft reed. This was the "German" style of romantic organ.   So a fair amount of Anglican music does not call for sudden dynamic changes using a swell pedal, or the gradual introduction of a searing reed chorus. This was a very much later phenomenon, championed of course by such as Willis and, later, Arthur Harrison especially.   It's interesting to look at the music of the period and see how the composers wrote differently for each type of instrument. Compare Stanford for example, with S S Wesley or Walmisley.....a very different approach.   Just my penny's worth.   Regards,   Colin Mitchell UK --- TheShieling <TheShieling@xtra.co.nz> wrote:   > > >What's wrong with an organ without shades? > > Absolutely nothing at all. When Director of Music of > a large Anglo-Catholic > parish in NZ more than 30 years ago, where there was > a good choir and a 3m > organ of about 27 stops, I never once used Swell box > or Choir box shutters. > Swell shutters are not necessary in even complex > Anglican liturgical > situations. A musician will always tailor the music > to the resources.   __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com  
(back) Subject: Re: Small Organs...without shades. From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Sun, 7 Nov 2004 20:05:04 -0800 (PST)   Hello,   I normally admire almost anything that John Speller writes, but this time.....erm......sorry John!   Almost ALL German organs before perhaps 1900 or so (??) had nothing much in the way of swell boxes, save for a lid atop a box of softly buzzing free reeds. This rather implies that almost the WHOLE of the 19th century German repertoire does not require Swell Box, save for the opening of the Reubke 94th Psalm, which does.....a "state of the art" innovation at the time, which the family organ building firm had been experimenting with.   Reger's great music relies on the subtraction and addition of stops using a Rollschweller device, or at least a small army of helpers.   So much for Germany.......   Now for Holland!   One of the greatest of all musical experiences is to hear Jos van der Kooy play the Bavo organ at Haarlem, where the stops run in horizontal lines way beyond resonable reach of the organist at the extremes. In spite of this, and with very expert assistants, Jos v.d.Kooy manages to give the illusion of an organ fully equipped with Swell boxes, in spite of the fact that there isn't a single one anywhere on the organ.   I have a recording of the Widor Symphony no.6 - Allegro - played by Jos vand der Kooy at Haarlem, and it is incredibly effective and astonishingly expressive, albeit with a lot of thought and care.   Even the 11 spoeaking stop organ which I play is quite capable of subtle changes in volume, but I have to work at it. In fact, I once played the whole of the Reubke in concert on this organ! Others have played Vierne and Liszt; the latter working extremely well.   Perhaps we should understand something about a Swell Box.   When the shutters close, it is not just the volume which changes. There is also a dramatic change in timbre, as the low frequencies become stifled and the higher frequencies take on a greater importance. Hence the effect of opening a swell box....far greater sonority and gravity is gradually added as the box opens.   Those who have a very keen ear can simulate this effect.....at Haarlem, it is incredible how Jos van der Kooy has worked out a "method" of replicating the effect of an English full-swell. The exact details I canot vouch for, but the way in which Trumpet tone gives way to Dulzian/Oboe tone and a smaller, higher pitched Mixture, with a gradual reduction of fundamental tones, is nothing short of sensational. It is 98% convincing, and of course, Jos and his team are basically using the principle of the Rollschweller control.   I suspect that almost ANYTHING can be achieved without a swell box, but of course, using a swell pedal is very, very much easier.   OK....I admit it.....the Vierne "Berceuse" NEEDS a swell pedal. I guess Herbert Howells does too, but as I don't play any of that muck........   Regards,   Colin Mitchell UK         --- "John L. Speller" <jlspeller@swbell.net> wrote:   > > ----- Original Message ----- > From: "Scott Montgomery" <montre1978@yahoo.com> > To: "PipeChat" <pipechat@pipechat.org> > Sent: Saturday, October 30, 2004 12:23 AM > Subject: Re: Small Organs...without shades. > > > > What's wrong with an organ without shades? > > Well apart from the inability to perform crescendi > and diminuendi (or should > it be descrescendi?), which is a minor > inconvenience, it makes it impossible > to match the volume of the organ to the volume of > the singers when > accompanying.       __________________________________ Do you Yahoo!? Check out the new Yahoo! Front Page. www.yahoo.com    
(back) Subject: RE: Small Organs...without shades. From: "TheShieling" <TheShieling@xtra.co.nz> Date: Mon, 8 Nov 2004 18:02:24 +1300   >As Ross knows, the organ I play does not have shades (sunglasses? eh?)   Colin (Hi, Colin) thus invites me to comment. Yes, the 11-stop tracker unenclosed organ by Laycock & Bannister that Colin plays is not only wonderful to play mechanically, but has a wide palette of very beautiful sounds. I don't think I've ever played a more beautiful and useful instrument of that size, and many far far bigger organs don't even begin = to compete with it.   The problem with theoretical ideas about organs is that often they have little to do with the reality of the instrument. On that recent trip to = the UK I played an unenclosed mid-19thC tracker of just 4 stops - 8 8 4 4. = It's one of the finest organs I have ever played - as my organbuilder friend David Miller says of it, "Now, that's real class."   Ross    
(back) Subject: Re: Today's Music From: "T.Desiree' Hines" <nicemusica@yahoo.com> Date: Sun, 7 Nov 2004 21:05:34 -0800 (PST)     All Saints Sunday at Immanuel Church   Toccata on Foundation G. Younh (I know, I know...i have been so busy the = past week doing entrance essays that I barely had time to work up anything = more beefy. Mea Culpa)   Call to Worship: Chanted by Pastor   Processional Hymn For All The Saints Sine Nomine   Opening Litany Response Alleluia (refrain from the beautiful = Methodist tune, Vesper Hymn)   Anthem: The Heavens Are Telling of Gods Endless Glory LV Beethoven   Sermon Hymn I Sing a Song of the Saints of God   Offertory: Improvisation of Foundation TDH   Offering Response: Blest Thou the Gifts   Prayer Response: Seven Fold Amen J. Stainer   Closing Hymn: How Firm a Foundation , Ye Saints of the Lord (Foundation)   Benediction Response Benediction of Aaron ES Lorenz   Postlude March on Bellevue Don Hustad   (apparantly, what we have come to know as "Foundation" was once called = "Bellevue" at the time "K" wrote the tune in Shaped note books. This is a = nice little march like setting that give opportunity for a big trumpet = stop in Don H's Early American Hymns)       From Desiree' T. Desiree' Hines Chicago, IL 60610 ---------------------------- For Compositions by Desiree' Frog Music Press www.frogmusic.com ------------------------------- FOR CONCERTS BY DESIREE' http://concertartist.info/bios/hines.html --------------------------------- Do you Yahoo!? Check out the new Yahoo! Front Page. www.yahoo.com
(back) Subject: All Saints Sunday in NYC From: <OrganNYC@aol.com> Date: Mon, 8 Nov 2004 00:50:52 EST   All Saints Sunday Feast Day of the Episcopal Church of the Heavenly Rest Fifth Avenue at 90th Street - NYC Mollie Nichols, Director of Music Steven Lawson, Assisting Organist Choral Eucharist and Baptisms at 10:30 am Prelude on Sine Nomine (Leo Sowerby) Hymn: For all the saints (Sine Nomine) Psalm 149 (chant setting: Henry Smart) Sequence Hymn: Who are these like stars appearing (Zeuch mich, zeuch = mich) Anthem at the Offertory: And I saw a new heaven (Edgar Bainton) Hymn at the Presentation: Doxology (Lasst uns erfreuen) Sanctus (Richard Proulx) Fraction Anthem: Be known to us, Lord Jesus (Gary James) Communion Anthem: Lead, kindly light (Fridrik Walker) Hymn in Procession: Ye holy angels bright (Darwall's 148th) Postlude: Sinfonia from Cantata 29 (Bach) - Mollie Nichols and Steven Lawson, organists Festal Choral Evensong at 5:00 pm Commemoration of the 75th Anniversary of the Opening and Dedication of the = New Church Prelude: Allegro (Jeffrey Honore) - Heavenly Rest Handbells Concerto in D Major (Jean-Baptiste Loeillet) - Central Park =   Brass Ensemble Introit and Procession: Open wide the windows of our spirits (Richard = Proulx) (handbells, organ, choir) Preces and Responses (Ray Urwin) Hymn: Round the Lord in glory seated (Rustington) - arr. Bruce Saylor Psalm 148:1-6 (chant setting: John Goss) Magnificat and Nunc Dimittis (Herbert Howells: Collegium Regale service) Suffrages (Ray Urwin) Anthem: Behold, O God our defender (Howells) Anthem at the Offertory: O clap your hands (Vaughan Williams) Hymn at the Presentation: All things are thine (Gardiner) Hymn: Ye watchers and ye holy ones (Lasst uns erfreuen) - arr. Bruce = Saylor Psalm 150 (in procession) (chant setting: George Talbot) Postlude: Praise the Lord with Drums and Cymbals (Sigfrid Karg-Elert) (arranged for organ and brass by Thomas Brantigan) *** At the reception following Evensong, Maurice Peress introduced himself and = informed me that he conducted the Karg-Elert for "Music for Organ, Brass = and Percussion" recording by E. Power Biggs at St. George's Church in NYC. = !!! I told Mr. Peress that I had just given that very recording a listen in = the morning to see what Biggs' tempo was. One never knows who might be in = the pews... (we took a somewhat grander tempo than did Mr. Peress.) Steve Lawson - NYC  
(back) Subject: Re: Today's Music From: "Jan Nijhuis" <nijhuis@email.com> Date: Mon, 08 Nov 2004 15:31:49 +0800   Delta Oaks, OPC Antioch, CA November 7   Prelude: "Our God Reigns" (Leonard Smith, Jr.) Hymn: "Hallelujah, Praise Jehovah, O My Soul" (RIPLEY, Arr. Lowell Mason) Songs of Praise: "To God Be the Glory" (William H. Doane) "Take My Life (Holiness)" (Scott Underwood) "Jehovah-Jireh" (Merla Watson) Hymn: "Take My Life, and Let It Be" (HENDON, Henri A. C=E9sar Malan) Offertory: EBENEZER, Thomas John Williams=20 Hymn: "Father of Mercies, in Your Word" (BEATITUDO, John B. Dykes) Doxology: "Praise God from Whom All Blessings Flow" (OLD HUNDREDTH, Louis B= ourgeois's Genevan Psalter)   ----- Original Message ----- From: RMB10@aol.com To: pipechat@pipechat.org Subject: Today's Music Date: Sun, 7 Nov 2004 14:11:21 EST   >=20 > Friendship Missionary Baptist Church > Charlotte, NC > November 7, 2004   -- Jan Nijhuis nijhuis@email.com   --=20 ___________________________________________________________ Sign-up for Ads Free at Mail.com http://promo.mail.com/adsfreejump.htm    
(back) Subject: St. Paul's on 5th Ave. - John Scott From: "Malcolm Wechsler \(Mander Organs\)" <manderusa@earthlink.net> Date: Mon, 8 Nov 2004 04:08:40 -0500   St. Pauls on 5th Ave. - John Scott -Sunday, Nov. 7, 2004   Well, it is, of course, St. Thomas's on Fifth Avenue, but one wondered = what changes, subtle or otherwise, might have occurred with its very famous new =   Organist, John Scott, a good Yorkshireman who came from years at St. = Paul's Cathedral in London. Changes there were, and I was powerfully taken with them. Most of you will know the routine: Evensong at 4, Recital at 5:15. After two troubling and crazy-making weeks at church, with a wonderful and =   uplifting bump in the middle, (the visit of one of our Bishops, for which our choir and brass quartet made me deliriously happy), I needed, today after church, to get in the car, and sustained by substantial quantities = of caffeine, make the one hour trip home, and collapse into bed. There was, however, a powerful pull - get thee to St. Thomas' and hear this thing = which has come to pass. I parked at Stamford station, and took the train into = The City. After a short walk, I was immediately in Wonderland. From the = opening notes of the prelude to the conclusion of the recital, my soul was = restored. It is not often that I have felt this way in St. Thomas's Church. This is = an Organ list, but I must speak very briefly about Evensong. It is part of = the package, so please forgive.   I have not kept up very cleverly with the changes in musical personnel = since the Hancocks retired. Listed in today's bulletin are Associate Organist Jeremy Bruns, and Assistant Organist Christian Lane. I was not where I = could see the console, and don't know these folks anyway, so I do not know who provided the totally superb accompaniments. They were wonderful, without exception.   The Organ prelude was Joies from the Alain <Trois Danses>   We then sang heartily <Lasst uns erfreuen!> This as the choir processed around us. Why the exclamation point? Really, because I have never been tempted to sing heartily in this place, and I have been there for services =   many times since the Guastavino Tile was sealed up. Something is going on here!   Then Versicles and Responses that I knew not, by the wonderful Richard Shephard. Thus, hearing the choir alone for the first time, I say again - "Something IS going on here!"   Here followed Psalm 34, to a chant by South. I looked in several books of Anglican Chant around here, and could find no South. The chant is lovely - =   who is he or she?   We sang "Jerusalem, my happy home" to Land of Rest as a kind of Office = Hymn. The Mag and Nunc were a wondrous surprise, by Rupert Jeffcoat (b. 1970), sung in Latin (at St. Thomas, Fifth Avenue, no less!). Jeffcoat is = Director of Music at Coventry Cathedral, and this is really fine writing. It is his =   Third Service. DURING the Magnificat, a thurifer threaded his way through the choir to the chancel steps and gave us a few swings. This place will never be called Smokey Thomas's!   After being greeted by the rector, we sang "Ye Holy Angels Bright" to Darwall, heartily indeed, supported by a fine reharmonization for the last =   stanza. Then followed what for me is a veritable musical orgy, William Harris's setting of "Oh what their joy and their glory must be" - Tune: O Quanta Qualia. I conducted that glorious piece once in Canada, then heard = a fabulous performance of it by the choir of Trinity-on-the-Green in New Haven, under Walden Moore. Tonight, under John Scott, with the = accompaniment of one of the assistants, it happened again. It was magnificent, and I can =   store that up in my museum of great performances, never to be forgot.   The service ended with the choir processing out, down the Nave Aisle, and then coming around the (liturgical) North Aisle, actually south, geographically, and after that little architectural nicety, I want to say what I think has happened here since John Scott arrived in town. I believe =   he has worked very hard with the trebles to find and build the resonance needed to project throughout the church. At the beginning of the service, = as the choir came up the "north" aisle, we were drawn into singing "Lasst uns =   erfreuen," and made welcome. I used to stand in that church, sing a hymn, and feel like I was the only singing person near me. As a concomitant of that, the choir singing in the chancel now envelopes us, and we can be thrilled. It has heretofore sounded ever so distant.   THE RECITAL - I'll be quick.   Recessional, by the late William Mathias. A truly wonderful piece, played with such joy and verve, the "west end" <en chamade> trompette blending in =   to the general clangor.   Thomas Tallis, Hymn: Veni redemptor, complete with a wonderful "Tallis Crunch," and going non-stop, directly and seemlessly into the Howells "Master Tallis's Testament."   I think Mr. Scott has become a Yank, the vehicle for this revelation being =   the Sowerby "Comes Autumn Time," a bumptious and swaggering bit of = wonderful Americana. Well done.   After the lively opening with the Mathias Recessional, we had moved into contemplative mode, certainly with the Tallis and the Howells. The Sowerby =   may not qualify as contemplative, but there is a unique, wistful side to = it. The lovely Franck "Cantabile" continued the gentleness, and the lovely purring of the 32' whatever in the last several bars of the piece really brought it home to me. It was wonderful.   I used to like very much some of the early works of Jean Guillou = (misspelled in the program). I guess I still do, but his tinkering with the Liszt B-A-C-H has never pleased me, or in any way improved on the original. In = any case, Mr. Scott played it marvelously and seeming effortlessly, and thus concluded a really splendid evening of music.   Malcolm Wechsler www.mander-organs.com