PipeChat Digest #5381 - Tuesday, May 31, 2005
 
RE: lawyer organists
  by "Desiree'" <nicemusica@yahoo.com>
Re: learning only one page...
  by "Jan Nijhuis" <nijhuis.jan@gmail.com>
Re: learning only one page...
  by "Desiree'" <nicemusica@yahoo.com>
Re: Lauda Anima
  by "Desiree'" <nicemusica@yahoo.com>
Re: Lauda Anima..KING, pardon me
  by "Desiree'" <nicemusica@yahoo.com>
Re: learning only one page...
  by "Randy Terry" <randy_terry@hotmail.com>
RE: lawyer organists
  by "Randy Terry" <randy_terry@hotmail.com>
Lauda Anima
  by "Dennis Steckley" <kzrev@rr1.net>
Alleluia
  by "Dennis Steckley" <kzrev@rr1.net>
Snetzler Dulcianas
  by "Daniel Hancock" <dhancock@brpae.com>
One page at a time...
  by "Daniel Hancock" <dhancock@brpae.com>
Re: learning only one page...
  by "Paul Smith" <kipsmith@getgoin.net>
RE: Snetzler Dulcianas
  by "TheShieling" <TheShieling@xtra.co.nz>
Phooey
  by "Nathan Smith" <erzahler@sbcglobal.net>
DOROTHY PAPADAKOS' BIRTH DATE? (x post)
  by <ScottFop@aol.com>
Dauphin Way Baptist, Mobile
  by <RMB10@aol.com>
16' manual stops
  by "Randy Terry" <randy_terry@hotmail.com>
Franck's PF&V
  by <BlueeyedBear@aol.com>
RE: lawyer organists
  by "Jeffrey Koehler" <jeffk13057@yahoo.com>
The Jordan Competition...a College Town Treat?
  by "Desiree'" <nicemusica@yahoo.com>
The Jordan Competition...addenda
  by "Desiree'" <nicemusica@yahoo.com>
RE: Snetzler Dulcianas
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Re: 16' manual stops
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Re: Franck's PF&V
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
 

(back) Subject: RE: lawyer organists From: "Desiree'" <nicemusica@yahoo.com> Date: Tue, 31 May 2005 16:15:48 -0700 (PDT)   The gent who was (and probably still is?) the national councillor for = Professional Concerns in the last 2 years has a JD and a BAMus. He was = elected particularly for that reason, I think.   Glenda <gksjd85@direcway.com> wrote: He and I went about it the opposite way - he was an organist first; I was a lawyer first.   Glenda Sutton gksjd85@direcway.com     -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org] On Behalf Of First Christian Church of Casey, Illinois   In addition to Glenda, Jelani Eddington is a lawyer; I'd call that distinguished company, Glenda, at least for those of us who appreciate theatre organs!         ****************************************************************** "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: List-Digest: List-Unsubscribe:     --------------------------------- Do You Yahoo!? Yahoo! Small Business - Try our new Resources site!
(back) Subject: Re: learning only one page... From: "Jan Nijhuis" <nijhuis.jan@gmail.com> Date: Tue, 31 May 2005 16:24:52 -0700   If you don't finish it completely, isn't that called "incidental music"? :-= )   On 5/31/05, Randy Terry <randy_terry@hotmail.com> wrote: > Thanks - thought that would be obvious! LOL. No reason to learn any pages= if > one doesn't finish the thing completely, right? <smiling> >=20 > Randy Terry   --=20 Jan Nijhuis nijhuis.jan@gmail.com  
(back) Subject: Re: learning only one page... From: "Desiree'" <nicemusica@yahoo.com> Date: Tue, 31 May 2005 16:42:00 -0700 (PDT)   how is one going to articulate the music if they have not learned the = notes to articulate? (wink--smile) I think there are various ways to learn pieces. Does anyone else ever go = to the more difficult passages and drill over them first? I remember when = I attempted to learn a piece that ws very hard for me at that time. I = learned the first 6 pages in about 2 weeks..but I got to the hard section, = and was stuck, taking me an entied semester and a half to learn and still = could not play it. That piece taught me..go to the hard part first.       __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
(back) Subject: Re: Lauda Anima From: "Desiree'" <nicemusica@yahoo.com> Date: Tue, 31 May 2005 17:03:01 -0700 (PDT)   Praise My Soul, The Ling of Heaven one of the most widely used tunes. I like to hear and play it in a nice tempo, thats not too fast. In hymnology class, we had to learn all of the most commonly used hymn = tunes for weekly tests. Our professor would play the first two measures, = and we would have to write them down. He copmmented that his organist and = pianists always passed them with 100% scored, probably because of the = books of hymn arrangements that we have, and how they often refer to = pieces as "Prelude on Boylston" or "Festive Postlude on Laudes Domini". He = was always full of neat stories about tunes, one particularly about the = correct pronunciation of "CWM Rhondda". We all laughed at ourselves for = literating it for so long (saying C, W, M)     --------------------------------- Do You Yahoo!? Yahoo! Small Business - Try our new Resources site!
(back) Subject: Re: Lauda Anima..KING, pardon me From: "Desiree'" <nicemusica@yahoo.com> Date: Tue, 31 May 2005 17:05:43 -0700 (PDT)   OOOPS Pardon me...the KING of Heaven   Desiree' <nicemusica@yahoo.com> wrote:Praise My Soul, The Ling of Heaven     --------------------------------- Do You Yahoo!? Yahoo! Small Business - Try our new Resources site!
(back) Subject: Re: learning only one page... From: "Randy Terry" <randy_terry@hotmail.com> Date: Tue, 31 May 2005 17:27:14 -0700   Actually, the way I worked the idea, was to try and learn everything on = the said page, section, whatever, the final/correct way first. The whole purpose of the excercise is to cut out having to "go back" and put in articulation, or unlearn things not desired.   Of course, it is difficult to actually put in articulations when going = very slow, but if you have them worked out and can internalize them from the start, you gain security in all areas.   Do I follow this "1 page at a time" rule faithfully - no, but whenever I decide to *really* learn a masterwork, this technique is the first thing I =   pull out of my "bag of tricks!"   Randy Terry   >From: Beau Surratt <surrattorg@gmail.com> >Reply-To: "PipeChat" <pipechat@pipechat.org> >To: PipeChat <pipechat@pipechat.org> >Subject: Re: learning only one page... >Date: Tue, 31 May 2005 16:56:40 -0500 > >HI! > Not trying to speak for Randy, I believe that the point is in >learning the notes 1 page at a time, with fingerings, etc., and then >going back and applying articulation or learning 1 page of notes and >articulations at a time rather than going through the entire piece >quickly and having to unlearn mistakes. > >Beau > >****************************************************************** >"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> >   _________________________________________________________________ Don=92t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/    
(back) Subject: RE: lawyer organists From: "Randy Terry" <randy_terry@hotmail.com> Date: Tue, 31 May 2005 17:41:10 -0700   My second organ teacher, Dr. Celia Jones, became unhappy with teaching for = a small salary after all those years in music school, so she resigned, went back to school at Duke University, and became a lawyer. Her vocal counterpart in the music department at that time followed her lead not = long after.   At 43 years old, I often remember my parents urging me to learn a trade or =   profession to "fall back on." And I truly wish I had followed their = advice. As a young man, I never stopped to think of the difficulties I might = face later in life.   Two years after landing my first (and only) full time job as a musician in = a decent sized Episcopal parish in one of the weathiest areas of the = country, I became frustrated with the internal politics of the church - and the = music department was not the issue.   I have a 1/2 time job at a parish I love and have become a member of. For =   part time, the salary is excellent. My problem is that age is creeping up =   on me. I have genetic issues with arthritis and joint trouble and I just can't work the kinds of retail or nursery jobs I have always done to make = up the rest of my living.   For those of you young enough, if you are into music and need a partner = job, I highly recommend working at a retail nursery - the physical work, customers, and artistic side of plants and flowers is a nice counterpoint = to the long ours working alone in music!   Randy Terry   _________________________________________________________________ Don=92t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/    
(back) Subject: Lauda Anima From: "Dennis Steckley" <kzrev@rr1.net> Date: Tue, 31 May 2005 20:09:19 -0500   Thanks to your quick help, I found Lauda Anima and discovered I knew it quite well. The first time I searched cyberhymnal, it didn't come up. Then a member sent me a direct link, and there it was! Dennis Steckley For I am possessed of a cat, surpassing in beauty, from whom I take occasion to bless Almighty God.  
(back) Subject: Alleluia From: "Dennis Steckley" <kzrev@rr1.net> Date: Tue, 31 May 2005 20:12:29 -0500   It is very funny to substitute "Praise Him" for "Alleluia" since "Alleluia" is simply Hebrew for "Praise God"! You've only substituted the language, not the thought! Rather a legalistic way to handle it, eh? Dennis Steckley For I am possessed of a cat, surpassing in beauty, from whom I take occasion to bless Almighty God.  
(back) Subject: Snetzler Dulcianas From: "Daniel Hancock" <dhancock@brpae.com> Date: Tue, 31 May 2005 20:15:31 -0500   >Organs in the British tradition (and NZ is such) would say an Unda Maris is a flat flute >Celeste, while the Dulciana Celeste is labelled Vox Angelica and tuned sharp. I haven't >heard an unenclosed Dulciana Celeste (whatever you might call it), but I can imagine it >being very attractive to my ears, especially if the Dulciana is of the Snetzler tone >tradition.     Ross--   I'm astonished and pleased! I never tho't I'd hear you say you could imagine any celeste being attractive to your ears. I rather suspected that in all honesty, you would, though.   I do stand corrected (as I thought I might be) about the Dulciana's celesting partner! But did Ernest Skinner call his Dulciana Celestes Unda Maris'?   And now, to the primary point for this time: what is the Snetzler Dulciana tone tradition? An echo Diapason? (English tonal history acknowledged and confessed).   Daniel Hancock Springfield, Missouri  
(back) Subject: One page at a time... From: "Daniel Hancock" <dhancock@brpae.com> Date: Tue, 31 May 2005 20:19:48 -0500     You're right, and that's why I got hung up over it. I could only see you learning the first page of the prelude, and the first page of the fugue, and then, "voila!" the rest of it falls into place! And here, I've been doing it the old fashioned way!   I like to do much the same myself, although I generally aim for coherent sections, which may or may not occur at the end of the page. =20   Thanks for the clarification!   Daniel Hancock Springfield, Missouri   >Thanks - thought that would be obvious! LOL. No reason to learn any pages >if=20 >one doesn't finish the thing completely, right? <smiling>   >Randy Terry   >>HI! >> Not trying to speak for Randy, I believe that the point is in=20 >>learning the notes 1 page at a time, with fingerings, etc., and then=20 >>going back and applying articulation or learning 1 page of notes and=20 >>articulations at a time rather than going through the entire piece=20 >>quickly and having to unlearn mistakes.  
(back) Subject: Re: learning only one page... From: "Paul Smith" <kipsmith@getgoin.net> Date: Tue, 31 May 2005 20:43:53 -0500   I have found it very useful to learn the last page of a piece first. That way, if I do mess up in performance, it will probably be early in the = piece (which I have known and practiced less), and the conclusion will be the = part I am most sure of. A mistake here or there is forgiven, and often = forgotten, if the conclusion is solid and convincing! This works on small pieces too, =   for those of us who have less technique and "just get by" some Sunday mornings. There is also the discipline of starting with the last section = of a piece which makes it easier not to get carried away and play it all the way through before you are ready. If I start at the beginning and things = are going well, I can fail to slow down or stop when I get to the new part. Kip in MO ----- Original Message ----- From: "Randy Terry" <randy_terry@hotmail.com> To: <pipechat@pipechat.org> Sent: Tuesday, May 31, 2005 5:19 PM Subject: Re: learning only one page...     > Thanks - thought that would be obvious! LOL. No reason to learn any = pages > if one doesn't finish the thing completely, right? <smiling> > > Randy Terry      
(back) Subject: RE: Snetzler Dulcianas From: "TheShieling" <TheShieling@xtra.co.nz> Date: Wed, 1 Jun 2005 13:47:30 +1200   >'m astonished and pleased! I never tho't I'd hear you say you could imagine any celeste being attractive to your ears. I rather suspected that in all honesty, you would, though.   Well, you don't know me very well. :-) The point is that I can't see = the point in ranks and ranks of Celestes, but yes, some are quire pleasant, though I'd want much other stuff before I'd ever specify one.   My two favourite Celestes are - 1. The TCLewis example from the 1880s in All Saints' Anglican in Nelson, New Zealand, an original tracker from back then, never having needed a = major overhaul yet. It still has its original water blower, and has no back-up electric blower. The Swell Viola da Gamba and Voix Celeste sound like a really first-class piano accordion, and I mean that kindly. 2.The Antegnati Fiffaro from the 16thC in Brescia, Italy. This is an unenclosed slow-beating Principal Celeste, and makes the chromatic stuff = of people like Frescobaldi come alive with its slow and gentle throb.   >But did Ernest Skinner call his Dulciana Celestes Unda Maris'?   Being an NZer, I have no idea. Oh yes, I've played one American Celeste I like - on the Balcom & Vaughan 3m in the chapel of the San Francisco theological Seminary at San Anselmo (1/2hr north over the Golden Gate Bridge) there is a rather nice Viola Pomposa and Celeste, on the Swell of this 3m of about 35 stops. I have no time at all, I might add, for the = huge 3m Aeolian-Skinner 200 yards away in the Presbyterian Church.   >And now, to the primary point for this time: what is the Snetzler Dulciana tone tradition? An echo Diapason? (English tonal history acknowledged and confessed).   An English Dulciana is not a string, for sure. The best examples, in my = ears anyway, are the very soft warm unenclosed velvet tones of an 18thC = Snetzler. Yes, a bit like I imagine an Echo Diapason might be. I am a fan of this sound, as it is ideal for accompanying one or a few singers, for playing very soft music when needed, and is the perfect accompaniment for even a softish Swell or Choir 8ft Flute, open or stopt. In trios, it works well: for example 8ft Dulc. & 4ft stopt flute on LH, with 8ft stopt flute + a mutation on RH.   In my home organ here, I have two Dulcianas waiting to be installed. They will share the bottom octave. The first is an 1871 Hill & Son of England, the second a Laukhuff example from Germany from 1992. Very different, and both well worth keeping, but I won't wreck either by tuning it sharp.   In St Michael's Anglican in Christchurch, where I was Dir.Music in 1971, there are two 8ft Dulcianas, sharing a common bass, on the Choir. One is three times as loud as the other - i.e. they are virtually an echo breath and a very soft Violin Diapason. Most useful in that place's high-church liturgical practice.   Colin Mitchell would probably approve of the genuine English Dulciana, = which is never even moderately loud and never scratchy or stringy in the best examples. I can think of the 18thC example at St Martin's, Ludgate Hill, just down the way from the west end of St Paul's. Another beautiful = Dulciana is in the Durham bishop's chapel and there are heaps of others.   A 16ft Dulciana is rare but is singularly useful, being like an Echo = Bourdon but with the clarity and nobility of a very small Violone, wonderful on = its own, coupled to something, or adding a little definition and depth to a stopt 16ft. There is a Hill Norman & Beard one here in Hawera Presbyterian from about 70 years ago, and a much less effective one in St Paul's Methodist in Palmerston North, plus a tiny handful of others.   Ross    
(back) Subject: Phooey From: "Nathan Smith" <erzahler@sbcglobal.net> Date: Tue, 31 May 2005 22:23:07 -0400       > That would depend entirely on what you're used to. Quite honestly, > that kind > of sound would make we want to vomit and I'd run screaming from the > church, > wondering why anyone would waste such an appalling amount of money on > something unlistenable.     Ahhhhhhhhh, what do you know anyway?   - Nate    
(back) Subject: DOROTHY PAPADAKOS' BIRTH DATE? (x post) From: <ScottFop@aol.com> Date: Tue, 31 May 2005 22:45:03 EDT   Does anyone know Dorothy's year of birth? It is needed for an upcoming recital program. Any assistance will be greatly appreciated. Thanks! Scott F.Foppiano   Organist and Director of Parish Music - Holy Rosary Catholic Church, Memphis, TN In te Domine speravi, non confundar in aeternum.  
(back) Subject: Dauphin Way Baptist, Mobile From: <RMB10@aol.com> Date: Tue, 31 May 2005 22:51:19 EDT   Keith Morgan mentioned in his post that Dauphin Way Baptist is getting a = new organ to replace their Keates-Geissler. I saw on Ebay that the K-G = console is for sale by Art Schleuter. Is his company building them a new organ or is =   doing a rebuild of the K-G? Anyone know the story? Having played the Shades Mountain Baptist organ I = can understand why these organs have had to be replaced in a short time.   Monty Bennett  
(back) Subject: 16' manual stops From: "Randy Terry" <randy_terry@hotmail.com> Date: Tue, 31 May 2005 19:57:01 -0700   I'm curious, with the mention of a 16' Dulciana in one of the celeste discussions, it made me curious about what kind of manual stops everyone desires.   In the 20 rank organ at my church, we enclosed 14 of the 20 ranks in the large swell chamber - since the original pedal Bourdon is in there, and there was no apt place outside to move it, it stayed. That said, the original 2nd 16 was a Quintadena playable at several = pitches on the manuals (16-8-4 AND 2.) We decided early on to discard the Quintadena in favor of something else, but then when things were further along, we realized that there was no room in the available space for a = small scaled 16' Lieblich.   The solution, we cut-up the Quintadena bass and revoiced it as much as was =   possible, and that became the bass for the manual 16's as well as the soft =   pedal 16.   I originally planned only a 16' Swell Gedeckt extension, playable on the great and pedal. Later, however, I deleted the planned sw-sw 16 and 4 couplers, and made the Gemshorn playable at 16 in the swell, using the Quintadena bass, and I also wired the Gemshorn and Celeste to play as a 4' =   Unda Maris II. This has prooved to add a lot of variety in registering - better than the originally planned swell couplers (the swell couples to = the great at 16-8-4, and to the pedal at 8-4.)   The Swell Gedeckt is playable at 16 on the great, and the 8-up section is from a 1928 Aeolian, mildly revoiced. It is way too heavy for any except the most full combinations, but the Gemshorn 16 from the swell is just wonderful. You can't tell the switch from Gemshorn pipes to the = Quintadena bass, and it is great to have a mild 16 in the manuals.   We softened the bottom octave of the Gedeckt, so when the Gedeckt 16 is drawn in the pedal, the correct effect is achieved - our acoustics cover = up any imperfections from the somewhat weak bottom octave. The Gedeckt 16 + Gemshorn 8 in the pedal is a perfect bass for trios, etc.   All this has gotten me thinking, if I could have a 16' open pedal stop, it =   would definitely be a Violone, not a Principal. I'm perfectly happy with = a big Bourdon in large combinations, but I sure wish I had something like a Violone for MP-MF work!   Randy   _________________________________________________________________ Don=92t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/    
(back) Subject: Franck's PF&V From: <BlueeyedBear@aol.com> Date: Tue, 31 May 2005 23:14:01 EDT   has anyone ever performed franck's prelude, fugue, & variation with organ = and oboe? the reason i'm asking is that the organ at my church, while a very nice 32-rank instrument, lacks an oboe, and i don't care for the sound of = the choir clarinet for this franck piece. however, we have access to a very = fine oboist and i was wondering how the work would sound with an actual oboe.   anyone?  
(back) Subject: RE: lawyer organists From: "Jeffrey Koehler" <jeffk13057@yahoo.com> Date: Tue, 31 May 2005 20:53:59 -0700 (PDT)       Any Physician Assistants in this group?? Jeff K   __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
(back) Subject: The Jordan Competition...a College Town Treat? From: "Desiree'" <nicemusica@yahoo.com> Date: Tue, 31 May 2005 21:01:33 -0700 (PDT)   I was online looking at various field related things, and I thought about = Randy Terry's comments about sopme Southern organs. So i stumbled across = The Columbus State University site and the fab new Letourneau and the = Jordan Competition. The first prize winner is going to get $30,000.00! looks like a small town university has created a major competition that is = paralelled to Dallas or Calgary. Good luck to all those competing! DH   __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
(back) Subject: The Jordan Competition...addenda From: "Desiree'" <nicemusica@yahoo.com> Date: Tue, 31 May 2005 21:12:00 -0700 (PDT)   (Addenda to the post...) While some well-known organ programs are closing their doors, it seems = that some schools that may have been unfamilir to some are putting forth = such beautiful effort to build new instruments and revitalize their Organ = departments. . They are building fantastic new instruments in great = environments., and seem very devoted to building Organ programs. DH   __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
(back) Subject: RE: Snetzler Dulcianas From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Tue, 31 May 2005 21:23:54 -0700 (PDT)   Hello,   I know about Snetzler Dulcianas, for there is one at Halifax PC just away down the road from where I live.   They are just a very restful, and very timid Echo Diapason sort of sound, but so very nice for very soft accompaniment.   I recall a recital, in which I played the Michael Festing Variations, and I simply used the 8ft Dulciana and the Pedal 16ft Dulciana to accompany the solo melody on the Swell Oboe.   Someone commented thus, "It was lovely to hear the organ played so quietly for once."   Halifax PC is a fair-sized 4-manual Harrison, with lots of BIG sounds, as per their usual style.   Interestingly, there are many 16ft Dulcianas to be found on the choir-organs of UK Harrison instruments. I think John Compton was quite partial to them also, because when extended upwards, they made for excellent non-unison components in the Mixtures, or as seperate mutations.   And my favourite Celeste?   It has to be the Marcussen at St.Laurens, Rotterdam.....so restful and ethereal.   Regards,   Colin Mitchell UK       --- TheShieling <TheShieling@xtra.co.nz> wrote:     > An English Dulciana is not a string, for sure. The > best examples, in my ears > anyway, are the very soft warm unenclosed velvet > tones of an 18thC Snetzler.   > > Colin Mitchell would probably approve of the genuine > English Dulciana     __________________________________ Yahoo! Mail Mobile Take Yahoo! Mail with you! Check email on your mobile phone. http://mobile.yahoo.com/learn/mail  
(back) Subject: Re: 16' manual stops From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Tue, 31 May 2005 21:36:18 -0700 (PDT)   Hello,   I don't "think" I know of a 16ft Gemshorn in the UK, unless there is one at Liverpool RC cathedral, in which case it sounds OK.   Contra-Spitzflutes are quite handy, but rare, and that MAY be what I'm thinking of at Liverpool.   Personally, I've been attached (not literally) to two organs with what I regard as the best 16ft stops of all. One was an old (pre-1890) Harrison & Harrison, which had a Contra Gamba on the Gt. The other was the Fr.Willis at St.Augustione, Kilburn, London, which had the usual 16ft Swell Gamba.   That said, the 16ft Quintaton on the GT., at the PC of the town where I live (Hill, Norman & Beard) is simply wonderful,and yet, all the voicer did was to tack plywood extensions to the upper lips of an old Bourdon, with incredibly good results. It's an object lesson in how to voice this type of rank.   As for Pedal Violnes, they are awfully good if they are well done, and of course, when added to a Bourdon, they produce a sound which is quite close to that of a 16ft Principal.   If I ever have to specify one, I just hope they will purr like those gorgeous Violones at St John the Divine, NY.   They are THE BEST.   Regards,   Colin Mitchell UK   PS: The Violones at Liverpool Anglican Cathedral are just as good, but you guys will know NY better.       --- Randy Terry <randy_terry@hotmail.com> wrote:   > I'm curious, with the mention of a 16' Dulciana in > one of the celeste > discussions, it made me curious about what kind of > manual stops everyone > desires. > > > All this has gotten me thinking, if I could have a > 16' open pedal stop, it > would definitely be a Violone, not a Principal.   __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com  
(back) Subject: Re: Franck's PF&V From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Tue, 31 May 2005 21:38:51 -0700 (PDT)   Hello,   It would sound beautiful! Go for it!   Regards,   Colin Mitchell UK   --- BlueeyedBear@aol.com wrote:   > has anyone ever performed franck's prelude, fugue, & > variation with organ and > oboe? I was wondering how the work would sound > with an actual oboe.     __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com