PipeChat Digest #5236 - Sunday, March 27, 2005
RE: now for something entirely different
  by "TheShieling" <TheShieling@xtra.co.nz>
Re: now for something entirely different
  by "Matthew M. Brown" <organist1@mindspring.com>
Re: Pens for staves
  by "Lelia Loban" <lelialoban@earthlink.net>
Mike Keeley?
  by "Scott A Montgomery" <montre1978@yahoo.com>
Re: Decline in Organ Building??
  by "Nathan Smith" <erzahler@sbcglobal.net>
Organs and Organists Online at Easter
  by "John Foss" <harkat@kat.forthnet.gr>
Re: Decline in Organ Building??
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Of Interest
  by "Jim McFarland" <mcfarland6@juno.com>
"Radiant" is the name of the church
  by "Jim McFarland" <mcfarland6@juno.com>
Re: Enough Already
  by "Jim McFarland" <mcfarland6@juno.com>
Re: Johannus in a Large Church Celebration
  by "Walter Greenwood" <walterg@nauticom.net>
Re: Phoenix
  by "Walter Greenwood" <walterg@nauticom.net>
Re: Market Research
  by "Walter Greenwood" <walterg@nauticom.net>
Re: Market Research
  by "Bill Lyon" <wflyon@usadatanet.net>
Re: Trends
  by "Richard Huggins" <huggins88@yahoo.com>

(back) Subject: RE: now for something entirely different From: "TheShieling" <TheShieling@xtra.co.nz> Date: Sun, 27 Mar 2005 22:35:44 +1200     >Besides Flor Peeters, what other Lord's Prayers are out there for the choir? We will be at 50 or so by then. Solos? =A0 Probably one of the best-known and most-loved settings of the Lord's = Prayer is by the Smith/Gillard duo of St Paul's Anglican, Symonds Street, = Auckland. They wrote their setting back about 30 years ago and it's enormously = popular here and overseas with both choirs and congregations. The original was = in C major, but there is a Guy Jansen harmonisation in Bb. If you want a = copy, email me off-List.   Ross    
(back) Subject: Re: now for something entirely different From: "Matthew M. Brown" <organist1@mindspring.com> Date: Sun, 27 Mar 2005 06:19:07 -0500   Durufle Notre Pere   you could perhaps also take an organ chorale prelude (Bohm, Buxtehude, = Bach, etc.) and write in the text of the chorale and use that as an = anthem or solo.   ----- Original Message -----=20 From: Keys4bach@aol.com=20 To: pipechat@pipechat.org=20 Sent: Sunday, March 27, 2005 4:51 AM Subject: now for something entirely different     My pastor, the same one i was told NEVER works more than a month in = advance, just sent me a preaching schedule until November. We do not = follow the lectionary.   There is a 4 week series on the Lord's Prayer. i know we will sing = the Malotte every week.=20   Besides Flor Peeters, what other Lord's Prayers are out there for the = choir? We will be at 50 or so by then. Solos?   dale in Easter Land
(back) Subject: Re: Pens for staves From: "Lelia Loban" <lelialoban@earthlink.net> Date: Sun, 27 Mar 2005 07:54:23 -0500     Bob Elms wrote, >Me? I'm lazy. I draw them with the computer. 100 >pages in a few minutes if I want that many. Come >to think of it I also write the key signatures, experssion >and tempo marks and notation on the staves using the >computer.   Same here. I only used the Speedball nibs for adding music to ink drawings, sometimes in thought bubbles. Sometimes when I wanted the = staves to curlicue off into the distance or spread out and spout rockets off the ends of the lines or something else you wouldn't find in the "Norton = Manual of Music Notation," I'd abandon the 5-line nib and draw the lines = freehand. But, no way do I slave away at composing gen-u-wine music on homemade staves. Before I had a computer program, I used (misused) commercial = staff paper from the music store. Then I crossed out and re-wrote so much that the music ended up illegible. Then I'd decide to re-copy it neatly so I could read it, but instead, I'd look at this awful mess and say, "Oh, forget it. Probably no good anyhow," and toss it in the paper recycling box instead.   Now I use Sibelius for composing on the computer. Sibelius is a high-end program that works like a word processor. I'm still using Sibelius 2.1.1. =   I decided not to upgrade, after the company began requiring composers who self-publish music on Sibeliusmusic.com to submit to one of the worst contracts of adhesion I've ever seen. It requires users to give up legal rights that I refuse to give up. Period. Therefore, about a year ago, I killed my Sibeliusmusic.com web page rather than agree to the then-new "Terms and Conditions." However, I still think the program is first-rate, even though I'm now using an obsolete version of it.   Lelia Loban I'm out of my mind right now, but please feel free to leave a message.      
(back) Subject: Mike Keeley? From: "Scott A Montgomery" <montre1978@yahoo.com> Date: Sun, 27 Mar 2005 04:58:58 -0800 (PST)     Sorry to bother the whole list, but Michael Keeley is a member of this = list. Can you please respond to me privately as I have lost your email     Thanks   montre1978@yahoo.com         Scott Montgomery 619 W Church St Champaign, IL 61820 217-390-0158 www.ScottMontgomeryMusic.net  
(back) Subject: Re: Decline in Organ Building?? From: "Nathan Smith" <erzahler@sbcglobal.net> Date: Sun, 27 Mar 2005 08:59:52 -0500   >>In my area, circa 1950, there were probably in excess of 100 pipe organs.   >>There are now about twenty!   I'm not surprised... In a place where organs like St. Bart's Armley and St. George's Hall can be buggered without second thought, anything is possible and nothing is sacred.   - Nate    
(back) Subject: Organs and Organists Online at Easter From: "John Foss" <harkat@kat.forthnet.gr> Date: Sun, 27 Mar 2005 17:18:05 +0300   HAPPY EASTER FROM ORGANS AND ORGANISTS ONLINE       Tying in with the discussion on digital organs, perhaps an objective view can be obtained from our update this week which include instruments by Allen, Copemann Hart and Rodgers in addition to pipe organs in St Andrew's =   Cathedral, Sydney (Hill/Letourneau), the III/50 Berghaus organ in First Lutheran Church in Dekalb, and the III/70 Balcom & Vaughan Organ in First Presbyterian Church, Seattle, WA.   http://www.organsandorganistsonline.com/download.htm   The music has been chosen with Easter in mind.       If you are in London this coming week the Choir of St Andrew's Cathedral Sydney,   http://www.standrewscathedralchoir.com/   is singing the services at Westminster Abbey under the direction of the Organist and Master of the Choristers, Michael Deasey. Mark Quarmby, who = was a recently featured organist on Organs and Organists online, will be accompanying the choir and playing the voluntaries, which will include Robert Farnham's Toccata "O filii et filiae". His performance of this = work, recorded on the IV/53 Hill/Letorneau Organ in St Andrew's Cathedral, = Sydney, has been added to this week's updates. The choir will be singing evensong = at 5.00 pm on Tuesday, Thursday and Friday. On Sunday the choir is to be = heard at All Soul's Church, Langham Place at 9.30 am and 11.30 am and the following week they will be singing the services at Canterbury Cathedral.   We have also added Percy Fletcher's "Festival Toccata" and Samuel = Barber's" Wondrous Love - Variations on a Shape-Note Hymn" played by David Lines on the III/70 Balcom & Vaughan Organ in First Presbyterian Church, Seattle, = WA. David Lines is a well known recitalist, and has performed concerts at the famous Mormon Tabernacle and the Cathedral of the Madeleine in Salt Lake City, as well as locally in Seattle, Washington. He is active in the = Seattle Chapter of the American Guild of Organists as the Newsletter Editor and as = a frequent performer/presenter at monthly events. This is fine playing on an =   organ we have not previously heard on Organs and Organists Online.   Roger Fisher, who is one of the UK's leading international recitalists and =   recording artists, plays Bach's Sinfonia from Cantata 29, arranged by = Harvey Grace, on the Copemann Hart organ in Wells Cathedral.   Roger Fisher studied at The Royal College of Music with Harold Darke, = where he won the Geoffrey Tankard prize for organ performance, later becoming Organ Scholar of Christ Church, Oxford. He has served as assistant = organist at Hereford Cathedral and was appointed organist at Chester Cathedral in 1967, eventually retiring to devote himself to his recording and recital career. The Copemann Hart organ used in this recording is a III/55 instrument which was used at Wells Cathedral while the pipe organ was = being rebuilt. It is a digital instrument using the Musicom system.   Gregory Ceurvorst plays the Fantasia in G minor by J S Bach, BWV on the III/50 Berghaus organ in First Lutheran Church in Dekalb, Illinois, = recorded during a recent recital he gave there, and Nicholas Russotto plays Virgil Fox's arrangement of "Rule Britannia". one of my favourite chauvinistic British songs, recorded on a II/46 Allen Digital Organ in Somersville Congregational Church, Somers, CT.   13 year old Sydney schoolboy, Mark Vierne, can be heard playing Vierne's Carillon de Westminster on the Rodgers Digital organ in the RC Church of = Our Lady of Fatima in Kingsgrove, Sydney. Mark is a pupil at Kingsgrove High School and plays regularly at the Church. Also from our younger members, Jarle Fagerheim tells me he has updated his site, which includes three performances from a recent recital given at Stavanger Cathedral in Norway = on the III/52 Reil organ http://www.reil.nl/doc/orgeloverzicht/stavanger.html       I would like to thank the members of this list who offered help with our bandwidth problem, which has now been resolved by the setting up of a = second site containing the majority of the files. In order to access these you = need to register as a member, and we are planning a limited selection each week =   on the home page from our extensive archives - available to members - = under the heading "EKLEKTIKA"   I would also like to than webmaster Tim Grenz for the works he does and coping with my impossible demands!       Jarle Fagerheim, who is a member of both this list and Organs and Organist =   Online, has updated his site, including three recordings made in a recent recital by young organists at Stavanger Cathedral.       John Foss   http://www.organsandorganistsonline.com/ http://launch.groups.yahoo.com/group/orgofftop/      
(back) Subject: Re: Decline in Organ Building?? From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Sun, 27 Mar 2005 06:54:51 -0800 (PST)   Hello,   Now that's an interestingly provocative statement from Nate!   The last time I played the organ of St.George's Hall, Liverpoool (already a very corrupted instrument from the original Father Willis), it seemed to be sounding well and playing well, thanks to the attentions of David Wells, the Liverpool organ-builder and ex-Willis man who has done a great deal at the anglican cathedral.   There was, certainly, a reluctance to spend money on the organ back in the 80's and 90's at St.George's, but that was probably as much to do with the huge cost of refurbishing the elabroate hall with its fascinating but then illegal underfloor, ducted heating system, which had to be brought up to the safety standards required of public buildings.   The organ has suffered some neglect, but it is still of a piece, and still used.   St.Bart's Armley, (the famous Schulze) has fared differently, and has recently undergone an extensive refurbishment by Harrison & Harrison at enormous cost.   Again, an instrument altered from the original, with certain additions by J J Binns when the action was converted to pneumatic, from the original barker-lever; the specific public funding requirements meant that the organ had to be "restored" to a previous condition.   Although many strove for the ideal of a complete restoration to the original Schulze, this would have been monstrously expensive and not a little impractical; given that the organ sits on a balcony high above the chancel, with a different layout to the original house organ which it was designed to be.   Lest we forget, this remarkable instrument had moved from a leaky, Victorian "music room" of huge proportions, to another church in Yorkshire, where it spoke into a dreadfully dull acoustic. It was really only when the instrument was donated to St.Bart's, that the full majesty of the sound was allowed to be heard as it should be heard; in a fairly huge, resonant space.   When J J Binns fitted the pneumatic action (of outstanding quality and reliability), there was little chance that the barker-lever action could every be replaced; not least because the original console had been discarded in favour of an excellent Binns pneumatic console.   IMHO, it was a very wise decision to "restore" the instrument to that of the J J Binns re-build, which met the requirements of the restoration funding, but at the same time, limited the cost and made the job possible. I know that this decision has not been without controversy, but in the REAL world, the organ was in such a bad state, something....anything....had to be done.   So what we have now, is an organ with pneumatic action (very prompt and very quick on repetition) as left by Binns, but with a little re-adjustment of the soundboard positioning to allow greater egress of sound from many of the quieter and more ethereal ranks of the Echo and Choir organs.   The only real BONE of contention, was how Harrison & Harrison, in re-building the instrument, might addresss a significant problem which the introduction of pneumatic action brought. With the more explosive opening of pneumatic motors, the rather slow speech of the original Schulze, open-foot, low pressure pipework was a little unsettled in the transients of initial speech. It didn't apply to all of the pipes by any means, but certain notes were a little hesitant to find a steady tone. Obviously, any attempt to alter this meant that voicing adjustments would need to be carried out to the pipes, which would mean altering the voicing of some original Schulze pipes, which Binns had left well alone as a mark of respect to "the German master."   Unfortunately, I haven't played the organ since it was re-built, but it sounds splendid enough.   Perhaps we can all be so paranoid about altering things that we fail to understand. In Holland, where restoration is an art form, I don't think there is an organ of great significance which hasn't been adjusted tonally. Most have even been re-pitched! Many have new or substitute ranks taken from other instruments, while many organs have all new reeds or mixtures.   Compared to that, St.Bart's has fared rather well, for it still contains ALL the original Schulze pipework, and any adjustments carried out to the pipe-speech will have been absolutely minimal. So the Schulze remains far more "authentic" in tonal quality than many a "restored" Schnitger, Muller or Hinz!!   I could go on and on......   Does that answer the points Nate raised?   Regards,   Colin Mitchell UK             --- Nathan Smith <erzahler@sbcglobal.net> wrote: > I'm not surprised... In a place where organs > like St. Bart's > Armley and St. George's Hall can be buggered without > second thought, > anything is possible and nothing is sacred. > > - Nate       __________________________________ Do you Yahoo!? Yahoo! Small Business - Try our new resources site! http://smallbusiness.yahoo.com/resources/  
(back) Subject: Of Interest From: "Jim McFarland" <mcfarland6@juno.com> Date: Sun, 27 Mar 2005 10:52:26 -0500         CBS News - USA (CBS) Pipe organs give new meaning to the expression "the whole is more than the sum of its parts.". ... All pipe organs have independent pedal parts, Newman says. ...           http://tinyurl.com/3t6ju         Jim
(back) Subject: "Radiant" is the name of the church From: "Jim McFarland" <mcfarland6@juno.com> Date: Sun, 27 Mar 2005 10:57:59 -0500         From this mornings NEW YORK TIMES.   I thought this might evoke a few interesting responses from the group. I pasted a few excerpts below and a link to the full article at the bottom.   "Radiant" is the name of the church. The Pastor is no relative of mine.   Jim       By JONATHAN MAHLER Radiant megachurch in Arizona offers financial planning, child care, counseling and Krispy Kremes with every sermon. Welcome to the expanding conservative frontier.   <<<<<<<<<<<<<Snip>>>>>>>>>>>>   In fact, everything about Radiant has been designed to lure people away from other potential weekend destinations. The foyer includes five 50-inch plasma-screen televisions, a bookstore and a cafe with a Starbucks-trained staff making espresso drinks. (For those who are in a rush, there's a drive-through latte stand outside the main building.) Krispy Kreme doughnuts are served at every service. (Radiant's annual Krispy Kreme budget is $16,000). For kids there are Xboxes (10 for fifth and sixth graders alone). ''That's what they're into,'' McFarland says. ''You can either fight it or say they're a tool for God.'' The dress code is lax: most worshipers wear jeans, sweats or shorts, depending on the season. (''At my old church, we thought we were casual because we wore mock turtlenecks under our blazers,'' Radiant's youth pastor told me.) Even the baptism pool is seductive: Radiant keeps the water at 101 degrees. ''We've had people say, 'No, leave me under,' '' McFarland says. ''It's like taking a dip in a spa.''   <<<<<<<<<<<<<<<<<<Snip>>>>>>>>>>>>>   The spiritual sell is also a soft one. There are no crosses, no images of Jesus or any other form of religious iconography. Bibles are optional (all biblical quotations are flashed on huge video screens above the stage). Almost half of each service is given over to live Christian rock with simple, repetitive lyrics in which Jesus is treated like a high-school crush: ''Jesus, you are my best friend, and you will always be. Nothing will ever change that.'' Committing your life to Christ is as easy as checking a box on the communication cards that can be found on the back of every chair. (Last year, 1,055 people did so.)   <<<<<<<<<<<<<<<<<<<Snip>>>>>>>>>>>>>>>>>   And so a year later, when Radiant moved into what would be its first permanent quarters, weekend attendance was approaching 800. Two years later it hit 2,000, the generally agreed-upon threshold for megachurch status, and McFarland started planning to build a new worship center. Weekend attendance is now about 5,000. To accommodate them all, McFarland leads several services, beginning on Saturday afternoon and continuing through Sunday morning. For Easter, the busiest day of the year, Radiant is expecting 15,000.       The Soul of the New Exurb
(back) Subject: Re: Enough Already From: "Jim McFarland" <mcfarland6@juno.com> Date: Sun, 27 Mar 2005 11:32:54 -0500   Wdh2@aol.com wrote:   Finally, enough of this childish and asinine rumor-mongering. Yes, I heard the rumors of Austin's predicted demise as far back as 2002. Some indicated Austin would not last into 2003. They were wrong. But the lies that were spread had a very real effect on Austin's ability to inspire confidence in their solvency and ability to deliver as contracted. Now we have the results of those lies and the doors have indeed been shut. There are those here who may be old enough to remember that Aeolian Skinner's eulogy had been preached well in advance of it's demise as well. Perhaps we can remember that this is a very litigious society that we live in. The spreading of slanderous tabloid rumoring may find the spreader in court explaining his postings.         Dear List:   Any firm with a track record such as Austin's, should have been able to prevail in spite of the gossip.   Did FORD go out of business when Pintos were exploding? Did Chrysler go out of business when they teetered on bankruptcy with Iacocca at the helm? Is K-Mart still here? The rumormongers were heavy at work, long before any of the problems these companies experienced became public knowledge. (PLEASE: no thread about organ-building not being analogous. Good business practice is good business practice no matter what the product or market.)   I suggest that any business providing a good service in a market that is still viable (even if not exactly the same market it might have been at one time) can, and should prevail, with good management. If a business is in good shape, the inability to collect one receivable could be covered with a business loan.   I mean to cast no aspersions here, but let's get off this topic of rumors destroying businesses. Yes, rumor spreading should be avoided, but I am afraid that it is human nature, and it is not likely to stop. There would be NO business in America if vocal detractors were really a problem.   I am no good at business management myself. I am a good organ-builder, and I am not afraid to say so. I have little to say about business practice in the firm whose shop I direct. Probably as a direct result, we make money.   Jim  
(back) Subject: Re: Johannus in a Large Church Celebration From: "Walter Greenwood" <walterg@nauticom.net> Date: Sun, 27 Mar 2005 13:23:14 -0500   Hello, Mr. Burt.   Now that's a big Methodist Church. Must be in Texas. I'd love to see a photograph.   No, I don't live in your territory. I live in Western Pennsylvania, and have been contacted by a pipe-organ firm who represents Johannus here. I will be going to see some of their work shortly, with the most widely open mind and ears I can muster at my age.   - WG   >"F. Richard Burt" <effarbee@verizon.net> > >We are using a new Johannus Rembrandt 370 Platinum >Edition tomorrow morning at a very large Methodist >gathering. This is one of the larger Methodist >Churches with about 25,000 members ... > >If you want a picture, let me know by REPLY, and >I will give you a picture of Johannus playing for >9,000 people on Easter Sunday morning. > >... > And   >I am authorized to solicit sales for Johannus in the northeast >quadrant of Texas, and also work in the "open territories" >of Okalahoma, west Texas, and the eastern plains of New >Mexico from about Las Cruces to Clayton. Do you live >anywhere near here? > > >F. Richard Burt > >      
(back) Subject: Re: Phoenix From: "Walter Greenwood" <walterg@nauticom.net> Date: Sun, 27 Mar 2005 14:29:52 -0500   Ron,   I hope your Easter was spectacular.   I'm sorry if my message sounded overwhelmingly negative. The last thing I want to do is start false rumors. My specific concerns are as follows. The back panel of the console is removed, but I see no evidence in the picture that the mother/daughterboard assemblies, which I assume comprise digital logic operating at MHz or GHz speed, are going to be housed in electrically grounded metal enclosures. That is substandard practice, from a commercialization point of view, for several reasons, including RF/EMF emissions, protection of the electronics against dust and mouse-poop, and protection of the fingers of the curious or careless from electric shock, etc. It says nothing whatever about the quality of the electronics or the sound they produce. I am more than eager to know how they actually sound. I am still amused by their use of an off-the-shelf PC power supply. This could be argued to be a good decision, since PC power supplies are readily available just about anywhere, or a bad decision, since they are not designed for longetivity. I would be inclined to use 2 or 3 of them for redundancy, as do manufacturers of server-class computer equipment. The household-class power strip, oriented vertically with a wall-wart hanging oh it and no strain relief on either the hot speaker wires or the AC cable exiting the back of the console, is just plain stupid, and might even be of interest to the Church's fire insurance carrier. It is so easy to do this right, so why do it wrong? "Custom" is no excuse for safety hazards. Am I being too picky? None of this would have passed muster anywhere I have worked in the past. If this photograph is not representative of typical Phoenix work, please set me straight. Maybe the organ was not even finished when it was taken.   As for Liverpool Cathedral, being able to afford the best is no guarantee that you will purchase the best. If they did, I am very happy for them. I sincerely hope Phoenix's instruments are as fine as you and others say they are, and I wish them all the best success in this increasingly difficult industry. I'm just telling you what I see, doubtless colored by my many years of experience in electronic design, manufacturing and service.   - WG        
(back) Subject: Re: Market Research From: "Walter Greenwood" <walterg@nauticom.net> Date: Sun, 27 Mar 2005 14:33:50 -0500   What did I find myself doing during the second sermon this morning? Why, I was drawing staves on a sticky to capture a marvelous idea for the next great American organ work. If you make 'em, I'll buy 'em. 3 x 5 would be great.   -WG        
(back) Subject: Re: Market Research From: "Bill Lyon" <wflyon@usadatanet.net> Date: Sun, 27 Mar 2005 14:48:13 -0500   3 x 5 sounds good to me.   Bill   ----- Original Message ----- From: "Walter Greenwood" <walterg@nauticom.net> To: "PipeChat" <pipechat@pipechat.org> Sent: Sunday, March 27, 2005 2:33 PM Subject: Re: Market Research     > What did I find myself doing during the second sermon this morning? > Why, I was drawing staves on a sticky to capture a marvelous idea for > the next great American organ work. If you make 'em, I'll buy 'em. 3 x =   > 5 would be great. > > -WG > > > > > ****************************************************************** > "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> > > > > -- > No virus found in this incoming message. > Checked by AVG Anti-Virus. > Version: 7.0.308 / Virus Database: 266.8.4 - Release Date: 3/27/05 > >  
(back) Subject: Re: Trends From: "Richard Huggins" <huggins88@yahoo.com> Date: Sun, 27 Mar 2005 12:10:02 -0800 (PST)   > Subject: Re: Trends >From: <RMB10@aol.com>   >> Justin Hartz wrote: >> I see a "trend" which indicates to me that we need to educate organists >> in appreciating a church's organ and not pushing their need to have the >>"latest thing" to play on Sunday morning. > > First, however, these so called "organists" need to be musically trained ... > usually don't know enough about the instrument to know any better. What > attracts them to digital organs are the gizmos... > I'm pretty sure you never meant to use a broad brush with that description of people who play digital organs, but--careful!   > On a pipe organ ... There is usually no "auto pedal" feature--I say usually, > because sometimes the solid-state systems offer them, but the pipe organ > builders don't put the piston to turn it on anywhere on the console. (Smart > move, I think--go ahead and flame me if you want to) > The value of auto-pedal is in emergency situations where a pianist might be asked to play the organ. If the organist has prepared for such a situation, he or she has spent some time with the pianist showing him or her which pistons to use for service playing (having also written it on a card), going over basic legato techniques and showing him or her how to use the auto-pedal feature.   > I feel that there is a time and a place for a digital organ, but as Justin > said, people tend to be drawn to them for the wrong reasons. > I would surprise me if gizmos or sequencing capabilities would be primary draws over price and maintenance costs as stated reasons why a church decides to buy a digital organ.   > Architects build churches without chambers (this was done at a church where > some friends of mine are members). > At a Baptist church in Texas I was helping a friend of mine, a digital organ dealer, talk to another friend, the Minister of Music, about their organ needs --and specifically speaker chambers-- for their proposed big new sanctuary. As we talked the MoM said, "Why don't we go down and take a look at the architectural drawings (which were posted in the hall for church   members to see)?" So we did indeed do that, and we looked at the drawings...and looked...and looked...and....   No chambers!   Thus did the MoM learn that the Napoleanic pastor had instructed the architects/building committee that the new sanctuary wouldn't HAVE an organ, but never bothered to talk to the MoM about it. (No, the MoM didn't stay much longer.)   > We need to educate. As professional organists we need to reach out .... If > all of us just take one untrained organist under our wing, we've already > doubled the knowledge base.   Excellent!   --Richard Huggins