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Today is the debut of the restored "Left Stage Chamber"... a section of this instrument which hasn't been properly playable for decades-- A major milestone in the restoration of this instrument... Currently there is an archive of a "live stream" available on Facebook via the "Pipe organs of Boardwalk Hall" page...

Quote: Good afternoon, Mr. LaRouche, this is D— from the Bronx. I have a very touchy question to ask. It's in regard to the closing of churches. In the past, I'd say three years, four churches were closed in our 20-block area around the church that I attend. Have you any idea, could you give us any insight as to what's causing it and what we can do to keep them open?  Because as one of the only means by which people in the community...?

LAROUCHE:  Well, you've got one real problem to deal with. First of all, the degeneration of the morals, of the citizens of the United States, since the beginning of the 20th century, that is since the birth, so to speak, of Bertrand Russell, there has been a consistent degeneracy in every respect, not just in this religion or that, but in every respect, which has been becoming worse, and worse, and worse. And that's the problem.

Yes, the religious question comes in.  But it is not clearly understood what the religious question is. There is a meaning, but, what's the meaning? What's the basis of the existence of a baby?  How does a baby come into existence, and what is the consequence of the baby existing? Well, if the baby is smart, the baby will be smarter than its parents? And it will be an actual achievement, not some kind of boo-boo this or that, boo-boo that.

So therefore, when people are being religious, there are two kinds of religious. One is a concentration on understanding of the meaning of mankind's life, from the birth to the termination of that life; and that termination of that life is the instrument which brings mankind into improvements, in the understanding of what mankind's mission is in the universe. And if you can look at it that way, which is I think is the only short-term way of expressing it, you have the solution. You have to understand what's the requirement? What is the goal of man's existence, after the parents of the man or so forth, have died? Is the man who lived after the parents had died, did that have a meaning? Is there some causal effect of that? Yes! And the question is, how does society help mankind realize that opportunity?

Q: [follow-up] Thank you very much for the information, sir. And I hope that things progress in our affair here in New York City.

LAROUCHE:  Good.  Very Good.

Q:  Hi, Lyn.  Just on that, in fact, adding on what we've been talking about before, I wanted to brief you on what we've been doing in Brooklyn to build this Messiah we're doing on Easter Sunday.  And the idea, what I wanted to communicate is, this church we're going to be performing at, is in an area quite similar area to the last one. And, in fact, what's happened in this area, since those two performances we did in December, of the Messiah, there's been a great reverberation in these communities around these two performances that we did.  And that's having now an impact on what we're doing now to build this next one, which is at a church which has—which was almost shut down in 2011.  Right now they're resurrecting this church, which is about 30 years older than the Statue of Liberty. And it has amazing acoustics.

And so right now, what we're doing, is creating a major field in this area, where you have now a lot of people very excited about the process. In fact, one lady told me, because I've been going to her place of business for the whole time this has been going on, she told me that "I like seeing this saga unfold, what you guys are doing."  So there's a whole development that's being shaped by this. And you can see, as we're going through this whole process, you can see that the more we have of this music program, the more you're actually going to create a real process of development, much like Lorenzo Da Ponte did in shaping the Italian culture in New York in the early 1800s, where he actually created the opera culture.

I've been thinking about that, on top of also doing this whole process as well. So I wanted to see what your comments were on that.

LAROUCHE:  No the point is, this kind of process is well known.  The relationship to the Italian model, is really very significantly known, and it's distinctive. There's a German version, which is also somewhat differently tuned, but it's the same kind of thing.

So these kinds of forms, they're not based on religion as such; it's not explicitly religion, as such; it's on the idea that mankind has a role beyond its society, and that is the role. It takes the form that's often called religious form.  But you have to be very careful about this, because there are religions, and there are religions and so forth and so on; and you've got to make sure you've got the right message.  But the point is, yes, there is a process of this nature.

But the key thing is, you've got to get people to stop thinking about looking at the graveyards.  They've got to look at the future embodied in the human being.  And we have to take the child, the child of parents; is this child going to be a creative force for mankind?  That's the issue!  The purpose is to have people who are good people. But! what you really need, what mankind needs, when you think about how many evil people there are running around in the United States right now, you say, "Wait a minute!"  This is not just a name, something to name. The point is that you want people, young people, who will develop themselves into becoming a creative force for the future of mankind.  And if you don't have that, you've lost the message!

Considering the nature of the discussion I have linked to, the quoted text appears in its midst?

Miscellaneous & Suggestions / Re: What is this?
March 01, 2016, 07:27:17 AM
My "doorbell" consists of an "oboe horn" with a 6 inch long resonator tuned at F#...  see ;) ;) ;)
From our local DJ / Re: ...What a pleasant surprise...
October 08, 2015, 04:49:10 AM
Classical KING 98.1FM is at it again 8)  On tonight's "Seatttle Symphony Spotlight" being played right now is the London Symphony recording of "Also Sprache Zarathustra"... which will be performed live by the symphony later this week, no doubt accompanied by the Fisk organ in Benaroya Hall  8) 8) 8)  My question is to those in the UK familiar with the venue which the London Symphony might have recorded this... Which venue??? This of course might be more easily identified if I knew which year the recording was made, and by the sound of it, I would say it was at the very least mastered on analog equipment based on the evidence of some compression not present on modern digitally-mastered recordings... so there would be a clue to go by...

??? ??? ???

Organ concerts / Re: The Flentrop at 50...
October 03, 2015, 11:27:04 AM
I didn't sleep well the night before, so slept in... not a good idea when your transport is in desperate need of major mechanical repair and wiping out the funds set aside for attending the concert in question in the purchase of the needed repair parts and materials... and in the process of removing components to allow for replacing the offending part, managed to break a seized bolt in the housing of one, requiring the separation of yet another seized hardware item... adding to the time required to make the necessary repairs, and make the additional necessary repairs :-[ ::) >:( >:( >:(  Afterwards scrub off the gunge, dress appropriately, and blast off hoping the day's work was done sufficiently correctly to make the journey and return safely home ;D ;D ;D 

I write all this as the effort WAS WORTH IT... Despite arriving at the intermission having missed the first half-hour of the concert, the last measures of J.S. Bach's Passacaglia in C minor resonating in the stained glass as I walked from the parking space to the entrance, along with the thundrous applause, albeit from a gathering which although repectable was far from the capacity crowd experienced a few weeks earlier at the farewell concert presented by David diFiore on September 11... Nevertheless,  the musical program featured a wide variety of work from Sweelinck, Buxtehude, and Bach before the intermission, Antononin Soler, Avro Part, Jehan Alain (postlude for the office of Compline) and ended with Maurice Durufle', Prelude and Fugue on the name of Alain...  All of which are capably represented by the tonal resources of the Flentrop pipe organ... However there was something about this concert which is very difficult to put into words: The term often used to describe this is AFFEKT... Something far more than the combination of the organ and the acoustic it is speaking into, along with the efforts of the organist in presenting his work through the apparatus in question... or the fact that the audience included a veritable "who's who" of the Pacific Northwest 'organ world'... or the presence of the Holy Spirit???

Inaugural Concert this coming November 15th... Mark your calendars  ;D ;D ;D ;D

From our local DJ / Re: ...What a pleasant surprise...
October 01, 2015, 09:33:06 AM
Among the music performed at David diFiore's farewell concert mentioned elsewhere on this forum was the aforementioned final movement of the Guilmant Sonata No.1 in d-minor... but without the orchestra... As to the local concert promotional activities of Classical KING 98.1 FM, are the first concert in a series to be performed throughout the coming year commemorating the 50th anniversary of the Flentrop pipe organ installation at Saint Mark's Episcopal Church, inaugurated at the time by E. Power Biggs, who played two concerts upon it. The first of the 50th anniversary concerts is scheduled this coming Friday evening, October 2... performed by their newly appointed Canon Musician, Michael Kleinschmidt... announced at least three times during the "Music Through the Night" program last evening. This evening there has been so far, one announcement of a concert to be given next week at Saint James Cathedral, the details escape me as of this writing...

So... Are there other examples of radio stations promoting local musical performances, or more specifically, organ performances?   

My thoughts are along the idea that if you are sponsoring an event of this type it might be worth contacting similar venues to determine what possibilities exist for promotion?

This was the second year the Midmer-Losh organ in Boardwalk Hall was used to provide "pre-show" entertainment for the Miss America pageant. Those familiar with the facility know the building can seat over 20,000... The restoration  is only 20% or so complete, the Right-Stage Chamber being the only one fully playable...

This weekend served as the point where the internationally-recognized organist David diFiore  performed his last service work and at least one "Farewell Concert" which I attended at the church he served for 45 years.  If you are not aware of the ability of an organist to "hold a congregation together" the events surrounding his decision to take up an organist/choirmaster and teaching positions half  a world away from "home" should give one pause, as most of those attending this concert (capacity crowd) were FORMER Church members who returned this evening to see him one last time and wish him well in his new endeavor.  That being said, the church is looking to find someone to fill his shoes and maintain a "traditional" musical presentation. However, in communicating with the organbuilder who has care of the instrument, it appears the Kimball/Balcom&Vaughan instrument is "on its last legs" and is in need of some serious work in the not-too-distant future if it is to continue serving a dwindling congregation (!)

As it turned out, the pre-broadcast organ performance was NOT broadcast... However, if one watched the show and is familiar with the hall, the entire thing was at capacity, so, that crowd likely numbering at least... in the tens of thousands... were treated to 20% of the tonal resources of the largest pipe organ on the planet prior to the "live" broadcast. (tape delayed for the more Western time zones...
Jack Woodward

At last year's Miss American pageant, the Midmer-Losh pipe organ in Boardwalk Hall was played >before< the live TV coverage began. Hopefully tonight the world's largest pipe organ will be heard by the millions that tune in to watch Miss America - nationally televised on ABC at 9 p.m. EST. The organ, built into the walls and ceiling of Boardwalk Hall, is in incredibly excellent performance mode.
The instrument is in the process of being fully restored – a 10-year, $16 million project. What will be heard is twenty percent of it's total capability. That 20% can make the floor shake! Hopefully ABC will allow a time slot.
29 mins · Edited · Public
10 people like this.
Jack Woodward
This is from someone in-the-know, from a post yesterday:
"Steven Ball, staff organist at the Hall, will be playing. The part about hoping ABC will broadcast it has to do with timing and whether they run on time for the beginning of the broadcast. I did hear they are willing to let it (be) broadcast if things run on time and smoothly. I believe it's an on the spot decision, live in the moment."
Unlike · 2 · Reply · Report · 25 minutes ago
Looks like you have to be logged in to view.  :o   

>:( 'twas NOT looking forward to a hack and glue job...


#12  This will be a test to see if this thread, related to the concert announcement, is available to those who "don't do Facebook"... Many issues raised there which would be of interest given the "raison d' tres" of this forum...

Organ concerts / The Flentrop at 50...
September 11, 2015, 01:30:09 PM
Friday October 2, 7:30 pm
Michael Kleinschmidt presents an organ recital to mark the 50th anniversary of the Flentrop organ. The program will include some pieces performed by E. Power Biggs in the inaugural recital.
St. Mark's Cathedral, Seattle, $18/$12,84.0.html

Organ concerts / Farewell Organ Recital by David diFiore
September 11, 2015, 01:24:39 PM
Friday September 11, 8:00 pm
Farewell Organ Recital by David diFiore
Celebrating his 44 years of service at UTUMC.
University Temple United Methodist Church
1415 NE 43rd St, Seattle, WA 9810. Reception follows.

Nearly 15 years after their organ was damaged, a Seattle church is one step closer to filling their sanctuary with music. Trucks pulled up in front of the Plymouth Congregational Church Sunday morning with the new organ.

Sr. Pastor Brigitta Remole says getting the new organ has been a labor of love and faith.

"It's a masterpiece," Remole said.

The new organ is made up of more than 3,400 pipes and weighs 16 tons. Church members lined 6th Avenue in downtown Seattle to unload all the pieces.

"It's a pipe raising, sort of like a barn raising," said Remole. The musical Goliath was brought across the country by trucks.

"I'm extremely excited about the organ in the sanctuary, it just gave me shivers" choir member Mari Mitchell Putnam said.

The church's last organ wasn't the same after the 2001 Nisqually quake. "It was damaged and the organ never quite recovered" Director of Music Doug Cleveland.

For years limited money left them with no other option but to use the damaged instrument until an anonymous donor stepped forward with nearly two and half million dollars. "This was like moving from Chevrolet to Maserati, in terms of an instrument" Remole said.

The new organ will be the only mechanical action French symphonic organ in the northwest. "It's just going to be phenomenal it's going to make singing in there glorious" Mitchell Putnam said.

Church leaders hope the beautiful melodies will help them reach beyond the walls and provide comfort to the entire area. "We're going to offer this to Seattle as a gift to the community" Remole said.

C. B. Fisk Opus 140...

Plymouth Congregational Church

Seattle Washington...

"First Sounds"  tonight on "The Organ Loft"... Dedication this  November... Voicing in progress......

Tonally, this is going to be a very french instrument, primarily "romantic" in the style of Caville-Coll, however with significant elements in the spirit of Dom Bedos and  Cliquot :o 8) 8) 8) 8) ;D ;D ;D to reserve a seat for the 3 May 2015 reopening ceremony... as the "worship space" has undergone a major renovation (removing carpet, adding tile, swapping the pews for chairs, reinforcing the walls and changing their shape to improve the acoustic to add reverberation time and add clarity to the spoken and sung voice ;)

Had to split the post due to the 20,000 character size limit... Comments on the previous article to follow...


    Jerry Wright says   

    April 6, 2015 at 9:50 am   

    Exactly! We still use our organ, and it is a great support of congregational singing. I have a praise band and contemporary worship songs every Sunday along with some traditional hymns. I even use the organ along with the band on some of our contemporary songs, not dominant but supportive. I have a creative organist who makes it work! The organ need not be dominant on every song in order to be relevant. It need not be a showpiece, but can be a really great support to congregational singing.

    Darrin Gowan says   

    April 6, 2015 at 1:11 pm   

    "Oh, we've got some good organ patches on the secondary synth. We use them for pads quite a bit..."
    -youngish worship pastor, missing the point as I sadly shake my head.

    Christopher Clark says   

    April 6, 2015 at 1:31 pm   

    As a younger worship leader, I am probably one of the few in my age bracket who has always championed the organ. The organ "sounds" on keyboards, ect. just don't give the warmth and sound that fills the room as a real organ gives. My experience has been that congregations always sing better when led or enhanced by an organ. It gives worshipers security to sing out without feeling that they are sticking out. Many would be surprised by the versatility the organ offers. It's a shame that there are not many who want to take the time to learn the skill needed to play such a magnificent and versatile instrument.

        Mac says   

        April 7, 2015 at 11:15 am   

        Nicely stated, Christopher. The reason the organ has lasted for centuries in the church is simply that no other instrument that has the sound to accompany a large number of people in congregational singing. the organ doesn't need to become an idol in the church any more than a band.

        The organ is very versatile as an orchestral instrument. I don't think the congregations mind the organ one bit. The disdain for the organ has come more from music and pastoral leadership in churches. Rick Warrren advocates getting rid of anything that looks like traditional church. Slowly, they may be seeing the error of their thinking. Worship is not about giving the congregant a pleasurable experience.

    Jordan Colburn says   

    April 6, 2015 at 1:57 pm   

    Good article! I'm our keyboard player at church and I've thought for a while now that pad sounds can be modern version of the organ. It basically provides a mellow sound across the frequency range that people can feel comfortable sitting their voice on top of. I tend to play through most intros and outros/repeat choruses and people seem more likely to sing out if I'm playing, but most people probably couldn't point out exactly what they are hearing or even if I'm playing at all.

    While our church is newer, so no existing organ to contend with, I brought in my Hammond L100 (tonewheel organ, basically a smaller version of a b3). It mostly fits in for gospel/blues/rock songs but it can also be very powerful in place of the pad in bridges to underscore congregational singing.

    Carter L. Collins says   

    April 6, 2015 at 6:10 pm   

    Thanks for writing an article that supports the use of the pipe organ in the church. It is terribly underappreciated, even unknown in today's Evangelical churches. The craft of the organist is an intensive one, requiring great and extended dedication and talent to develop the skills required to fully exploit the complexities of the instrument. The craft of the organist is difficult to master, yet quite rewarding.

    Each pipe organ is nearly as unique as one of the members of the congregation it serves. The unique aspects of each instrument have been carefully designed to meet the needs of the congregants' singing and the space in which it will serve. A man made representation, if you will, for the body of believers. God created each of us to fulfill a specific purpose in a specific span of time and place. His creations are more perfect than ours, of course, but the creation of an organ requires the best skills and gifts of all involved from inception, to fundraising, to commissioning, to installation, voicing, tuning, and dedication. A complex creation and lasting investment in the art of sacred music.

    In the same way a pipe organ represents God's creation, it can serve as a representation (not an idol) of God's mystery and splendor. Both visually and aurally, the instrument serves as a reminder of the complexity and vastness of God. Hundreds of pipes and dozens of voices mix in various ways to create an acoustic sound that somewhat mimics the mechanism of the human voice, and often mimics the or complements the colors created by the human voices of the congregants. The presence of an organ can only ever enhance the aesthetic of worship, if well stewarded by the congregation it serves.

    Singing with any other instrument is never as inspiring or encouraging. Piano decays, guitar fades, and electronic sound is ever (yet increasingly less) artificial and somehow incorrect (for the God-ordained, and scripturally required act of congregational singing...yes, it is required that all Christians sing congregationally [Ps. 92:1, 100:2, Col. 3:16, many other psalms]). Experientially, I can attest to this being true even when accompanied by large orchestral forces. The first verses of "Low in the Grave" on [Easter] Sunday was accompanied by orchestra, piano, and organ (plenum). The final verse saw the piano and orchestra taking second chair to the might of the pipe organ as stops were pulled and shimmering and bombastic voices emerged above the other instruments sounding the tune of the hymn with pristine clarity and proud declaration. The result? The congregation sang more fully and clearly than I had heard a congregation sing in too many Sundays. This was not an affectation, put upon artificially to encourage louder singing. The words to the hymn are triumphal (especially the chorus), and the organ's full power added to the aesthetic truth (to borrow a concept from Scott Aniol of Religious Affections) of the hymn, and the effect was profound. The organ fulfilled its purpose.

    In a world of widespread illiteracy of music, and a sort of ignorance of ignorance regarding musical history, sacred musical heritage, and the connections between music and theology and the practical application thereof, it is not surprising to find that a great deal of opinion is being tossed about with no unified actions being taken. People cannot read music (recent educational efforts are taking flight, and becoming more effective), and do not even know what they don't know about the purpose of music in the life of a Christian. Long-suffering arts like organ building and organ playing are left in the niche markets of church music. Unfortunate from my perspective. I make the argument that a solution to congregational singing (a requirement, remember?) is increased use and dedication to preservation of the pipe organ. It is the only stand alone instrument currently found that is capable of both mimicking the human voice accurately enough to inspire the listener (however illiterate or ignorant of music) to sing more fully and enthusiastically, and strong enough to support a church building filled to the walls with lustily singing congregants recounting the psalms, hymns, and spiritual songs we are admonished to sing today.

    These are my opinions, and I am not attempting to bend scripture to fit my personal aesthetic. Rather, I hope to inspire a greater aesthetic in congregational singing by reminding all of us why we sing...if that entails an increase in the use of the pipe organ, so be it. What I really hope to see is an increase in the quality and quantity of congregational singing. It is what we are supposed to do when we worship corporately, and I am loathe of congregational singing with no enthusiasm or sense of purpose. It is a beautiful act of adoration and love to God and to one another, one which we should approach with reverence. Even in regard to congregational singing, we can benefit from the words of William Carey, "Attempt great things for God, expect great things from God".

    In response to other comments:

    Thank you Jerry for your attempt to encourage congregational singing by supporting your voices.

    Thanks Christopher for understanding the merits of acoustic sound and how that encourages singing among the congregants. At 24, I understand the rarity you speak of in regard to the support of pipe organ in the church.

    Thanks Jordan, for your contribution. The Hammond sound has been a staple in Gospel churches for years. For my own curiosity, have you ever sat at a pipe organ console? Larger organs can have overwhelmingly complex consoles, but some moderately sized ones are easy to understand and play with some simple instruction and terminology. The difference in sound production between a pipe organ and something like a b3 or Leslie is quite notable...yet the basic principle is quite similar (the application is quite different though). They are majestic instruments combining many elements into a coherent unit for one express purpose, the worship of God.

   More comments in the article...

The link to the following article keeps showing up in my Facebook newsfeed ;)

Don't let the title of the following fool you... An excellent case for keeping (or obtaining) an organ ;)

And do read through the comments...

Does the Church Organ Need to Go? – by Mike Harland

April 6, 2015 22 Comments

Does the Church Organ Need to Go-Does the Church organ need to go?

It's a fair question.

With the onset of rhythm-driven worship in many of our churches, many call the use of the organ into question these days. Often the renovation of worship space includes this question.

Some might say, "We don't use it anymore. Why don't we just take it out and put the drum cage over there?"

Wait just a second! You might want to rethink the role of the organ.

The organ is one of the oldest instruments ever invented... dating back to 250 BC. It found it's way into the worship services of Christians in the 1400's. And for centuries, it was the dominant instrument of the composers of sacred music. In the Baptist tradition, organists and the organ helped develop the rich tradition of hymn singing and defined the splendor of the congregational song.

In the modern era, some would say the organ has been replaced in many churches by a band or even an orchestra. But, personally, I don't think those instruments have replaced the organ. I think the small vocal team enhancing the choir or congregation has replaced the organ.

How many articles have you read bemoaning the fact that church congregations don't sing like they used to sing? I've read quite a few and written a couple myself. Most would blame it on the newness of the songs or the decline of church choirs. I agree those points are valid, but I would add, for this discussion, that the reduced role of the organ has also contributed to this reality.

Historically, the organ underscored congregational singing back when congregations really sang. I always thought of it as the "voice" of the people, giving the average congregant a place where their voice could "hide" in the awesome sound of resounding hymns. The organ sound is a safe place to put your voice no matter how you sing.

So try this... instead of shutting the organ down in your worship, use a few less singers on microphones and allow the organ to undergird the congregational song – no matter what style of music you sing. You might just rediscover the power of this instrument.

And every once in a while, let your organist lead your congregation is a transcendent worship experience using an instrument that has the range of power unmatched by any other instrument.

The 500th anniversary of the Reformation is coming soon. You could mark it early with an awesome organ version of "A Mighty Fortress is Our God."

Somehow, the guitar can't touch that one.

Mike Harland
An observation made on another forum I associate with...

QuoteI have always been intrigued by Historically Informed Performance Practise, obviously with reference to music of the Baroque period. The dissonance created by following the original tuning has always struck me as far more organic, more vital, than the well tempered sounds of later tunings.

There is always the argument tht IF early composers had had access to modern instruments, they would PERHAPS have changed their approach quite radically.

There is surely place for both historically informed and modern tuning. Modern music performed in the previous tuning becomes simply a curiosity, surely. And there is always the unwritten stylistic expectation that varies according to the fashion of each era, and the so called normal sound for an instrument two hundred years ago is certainly not the sound by today´s audience.

I find this observation significant considering the debates swirling around "orgelbewegung"... 


Miscellaneous & Suggestions / Re: Healthy interest?
January 26, 2015, 06:57:49 AM
Oddly enough discovered in some intriguing places... To wit:

QuoteI have always been intrigued by Historically Informed Performance Practise, obviously with reference to music of the Baroque period. The dissonance created by following the original tuning has always struck me as far more organic, more vital, than the well tempered sounds of later tunings.

There is always the argument tht IF early composers had had access to modern instruments, they would PERHAPS have changed their approach quite radically.

There is surely place for both historically informed and modern tuning. Modern music performed in the previous tuning becomes simply a curiosity, surely. And there is always the unwritten stylistic expectation that varies according to the fashion of each era, and the so called normal sound for an instrument two hundred years ago is certailny not the sound by today´s audience.

and from another on that same thread:
QuoteRE: The Musicians' Thread

Unfortunately I am not sure if in my archived radio broadcasts of choir and organ music I have the entirety of Widor's 5th symphony but I definitely know I have the 6th in its entirety Heart"

In my post I was referring to Naxos CD with Robert Delcamp playing exclusively Widor, and among the pieces featured are the 5-th Allegro Vivace, Adagio and Toccata, Allegro
and you are so right, it is near impossible to find the fifth anywhere, while toccata is on more that one hundredth different CD's.; I do believe there is a Phillips double LP with Widor complete fifth, but so far the fact that I don't have a turntable anymore . . . Confused

I agree with you, indeed tapes (analog) are sounding better, I still have a Fostex E2 myself, but used to house the Studer A 810 together with 3 other machines for awhile. Smile

I listen on Orion actives and right now I have next to me Pomp&Pipes with Paul Riedo in Dallas, on Reference Recordings.

Widor is there with "Lord, save thy people" and Marcel Dupre with "Heroic Poem".

In time I'll transfer all my CD's on the Memory Player (the only digital machine that I can truly enjoy - very interesting concept and design here.

Thank you for the occasion to delve a little in something that gives both hope and peace.


and now for the "zingers"...


If one tries hard enough, one can fill much of a forumBig Grin

Earlier in this thread I mentioned

Have a look at my attempt at doing just that...

Still, after reading your last post you could have knocked me over with a featherBig Grin

And the founder and administrator of this forum on his photography page has a most beautiful photograph of a windchest loaded with several ranks of pipework... Angel

That "Pomp and Pipes" CD has become almost a "gold standard" for Audiophiles wishing to evaluate the effectiveness of their high-fidelity music reproduction apparatus... That organ was the first such instrument (ie, tracker-action, installed in a concert hall) designed and built by Charles Fisk, a physicist who prior to building organs was a member of the Manhattan Project team and was told by Dirk Flentrop "You don't want to build a concert hall organ, nobody will ever play it"...

Oddly enough, sitting in the organ shop of John Bishop, founder of Organ Clearinghouse... may be some lasting evidence of the crime that is "9/11" in the form of dust ejected from WTC during its collapse... lodged in the wind system of the pipe instrument once installed in Trinity Lutheran Church, Wall Street... (Wrap your head around THAT for a second or twoIdea )

My signature line from Organmatters:

The objective is to reach human immortality—that is, to create things which are necessary to mankind, necessary to the purpose of the existence of mankind, and which have become the fruit that drives the creation of a higher state of mankind than ever existed before."

QuoteI have been on Organ matters soonest you put the link up last year.
It is hard to believe how frustrated I felt with some of the guys there keeping on the safe (boring) side of the debate Confused but, then again I was a fringe kind of a guy, unable to see music in and on itself on one hand and the man as an evolved animal only, locked in a specie isolated and shackled outside of the Universe and consciousness; Emoto proves there is more outside of us, and we in-habit that space too . . .