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May-June 2014
SOUTHERN NEVADA CHAPTER OF THE AMERICAN GUILD OF ORGANISTS THE DESERT WIND Editor: Bruce Behnke © 2014 Issue: May/June 2014 Southern Nevada Chapter Dean’s Notes American Guild of Organists Dear Organ Friends, In one of my pleas for material for We will have a “swearing in” after this edition, it was suggested that I Here it is the end of April already the elections, even if there are no mention the familiar program, “Mu- and we’re quickly sliding into May changes made. In the past we have sic and the Spoken Word.” There are and some relaxing summer months. had a catered dinner for this event several ways of viewing this program. All we have to do now is prepare so watch for future information. Set your internet browser to for the blistering heat! Thanks to all of you for your con- http://musicandthespokenword.com/ Our chapter is up for elections tributions to the Guild. I can’t name broadcast/ again this year. Anyone who would everyone here because there are so like to serve on the board or would many who have helped us have a and you can watch it online . Cox Ca- like to be released from the board, great AGO Chapter with great pro- ble runs the program Sunday morn- please call or email me. 274-9495 grams. or [email protected]. We will ing at 8:30 A. M. on channel 352 BYUTV. have an election committee to cre- Have a good summer, but we’ll see ate and send out ballots. I have en- you at least once more before we This being the final issue of this year, joyed being the dean and will hap- all scatter all over the world! pily continue unless someone else your editor would like to thank the is just dying to have the position. -
Allen Organ Technology
Perfection Sound | Technology | Sustainability An Allen Organ offers perfection throughout. This begins with the finest pipe organ sounds and masterful build quality, and flows into all aspects of the instrument. The Art of Organ Building – “To my eyes and ears the organ will ever be the King of Instruments.” Majestic Sound – Wolfgang Amadeus Mozart Allen Organs Sound Better Superior organ sound comes from a combination of advanced technology and years of artistic experience sampling pipe organs. Throughout history the organ has been a remarkable combination of technology and traditional music. With hundreds of pipes, early pipe organs were the most advanced products in a community. Modern electronics have enabled the production of pipe organ sound without requiring pipes. Today’s finest digital instruments reproduce the grandeur of pipe organs, at significantly lower costs. Allen’s 7th-generation GeniSys™ technology includes dozens of advanced Digital Signal Processors working in parallel, supercomputer power, offering the most realistic pipe organ sound available from a digital organ. Coupled with a two-decade lead in digital sampling experience over other digital organ builders, Allen Organ Company is the acknowledged leader. Pipe Organ Sound Reproducing realistic pipe organ sound requires advanced technology. Allen’s technology is proven weekly through its many combination organs that include both digital voices and windblown pipes played in the same building. Proof statement: Listeners have difficulty determining the source of the sounds. A recent Allen combination organ installation in Stockholm, Sweden, is an example comparing, in real-time, Allen’s digitally produced voices alongside of windblown pipes. Click the photo to hear for yourself. -
And One in Three!
1 organ news OrganNews No. 22 The official publication of Makin Organs, Johannus and Copeman Hart IN THIS ISSUE Page 2 Three in New Makin Thirlmere organ Page 3 one – and Johannus launch the Ecclesia organs one in three! Page 4 Posture whilst playing Page 5 Hybrid organs Page 6 New Copeman Hart demo organ Page 8 The fourth line of the Trinity hymn “I bind unto myself Organ voicing today”, often sung to the tune St Patrick’s Breastplate, is “Three in one and one in three”. Page 10 This is so appropriate for Testimonials ChurchOrganWorld as we have three distinct brands of Page 14 instrument, each of which has Meet the Staff its own range of benefits, styles and groups of customers, all now Page 16 available under one roof from a of organists from this sceptred isle, Cathedral, included in the price. single company. Customers are which is why other brands simply There is no other company who Some recent well aware of our capabilities don’t ‘cut the mustard’. This great offers the skills of such a world installations from the simplest home practice tradition continues today with renowned organist and musician instrument right through to an beautiful hand crafted consoles. to its customers; in essence it was instrument suitable for the largest Copeman Hart are simply the best concluded that there was little of cathedrals. No other company digital organs available, being built point in following the well trodden offers such a range of quality to the same exacting standards path of the competition by having options, all of which come with the of the best pipe organ consoles a well meaning, but none the less best in service and at a price that available. -
International Touring Organ - March 19
ABOUT THE ARTIST CAMERON CARPENTER AND THE INTERNATIONAL TOURING ORGAN - MARCH 19 piano works by Chopin, Godowsky, Grainger, Ives, Liszt, Medtner, Rachmaninoff, Schumann and others. Mr. Carpenter received a Master’s Degree from The Juilliard School in New York in 2006. The same year, he began his worldwide organ concert tours, giving numerous debuts at venues including Royal Albert Hall, the Leipzig Gewandhaus, Melbourne Town Hall, Tchaikovsky Hall in Moscow, Davies Hall in San Francisco and many others. His first album for Telarc®, the Grammy®-nominated CAMERON CARPENTER, ORGAN Revolutionary (2008), was followed in THE INTERNATIONAL TOURING ORGAN 2010 by the critically acclaimed full length AMERON CARPENTER is having DVD and CD Cameron Live! Edition Peters of years with a single instrument. Therefore a ball smashing the stereotypes became his publisher in 2010, beginning Marshall & Ogletree has sampled sounds of organists and organ music – all the ongoing release of his original works from many traditional pipe organs, C with Aria, Op. 1 (2010). His first major the while generating worldwide acclaim including many of Cameron’s favorite work for organ and orchestra, The Scandal, and controversy. His repertoire – from instruments – from the cathedral to the Op. 3, was commissioned by the Cologne the complete works of J. S. Bach to film Wurlitzer. These come together in an organ Philharmonie (KölnMusic GmbH) and scores, his original works and hundreds designed not for size, limitless variety or to premiered on New Year’s Day 2011 by the of transcriptions and arrangements – is model any particular pipe organ, but rather Deutsche Kammerphilharmonie under the probably the most diverse of any organist. -
The Tracker the Tracker
Volume 56, Number 1, Winter 2012 THE TRACKER JOURNAL OF THE ORGAN HISTORICAL SOCIETY WELCOME TO CHICAGO! CHICAGO IS A WORLD-CLASS CITY that offers much to see and do—including fine dining, many museums, attractions, and events, and shopping. Allow time to savor the sights and sounds of this Come to vibrant city and make your convention trip truly un- forgettable! The 2012 Convention is presented by the Chicago-Midwest Chapter, which brought you the Chicago 2002 convention. We couldn’t fit all the wondrous organs and venues into just one convention—so make sure you don’t miss this opportunity to visit FOR OHS 2012 the City of Big Shoulders—and Big Sounds! July 8-13 † CITY OF BIG SOUNDS PHOTOS WILLIAM T. VAN PELT WHY CHICAGO? THE CONVENTION WILL COMPLETE what the 2002 con- vention started—demonstrating more of Chicago’s dis- tinguished pipe organs, from newer, interesting instru- ments that are frequent participants in Chicago’s music life, to hidden gems that have long been silent. The Convention events cover the length and breadth of the Chicago area, including northern Indiana venues, and include an evening boat cruise for viewing the mag- nificent Chicago skyline while you dine. PERFORMERS Recitalists include many of the Chicago area’s leading organists, along with artists familiar to OHS audiences from previous conventions. Many players have a Chicago connection, and the recit- als often feature younger players. CONVENTION ORGANS C.B. Fisk Casavant Frères, Limitée Hook & Hastings Hinners Organ Co. Skinner Organ Co. Wurlitzer Aeolian-Skinner Organ Co. Noack M.P. -
Trinity's Organ
Trinity’s Organ The organ at Trinity was dedicated on October 23, 1994. In many ways it can be thought of as a reflection of our own congregation. There are 2,395 pipes in the organ. Trinity congregation, in 1994 was very close to that number in membership and has since then far surpassed it. The pipes in the organ actually form a “congregation of singers” made up of many different shapes and sizes. Some are short, some are tall. Some sing high, some sing low. Some are loud, some are soft. Each person in our sanctuary can combine his or her voice with others to offer up prayers and songs of praise. Each pipe in the organ “building” works along side of others to produce sounds for accompanying our songs of praise. We each have a mouth to sing God’s praise. Each pipe in the organ also has a mouth. The straight edge at the top of a pipe’s mouth is called the upper lip. The bottom edge is the lower lip. Pipes have “feet”, “bodies”, “ears”, and “tongues.” The pipes “sing” in much the same way as humans. Sound is produced when air causes something to vibrate. The sound then comes out through a mouth for all to hear. The pipes receive their breath for singing from a windchest. The sound produced by the pipes is thus a sound that is vibrant – “alive”! The organ at Trinity is an instrument allowed by God to be built for worship – an instrument whose breath will combine with ours to set in motion pipes for praise. -
Theatre Owner's Manual
TH-202/TH-302 Theatre Models IMPORTANT! Organs which contain GeniSys™ technology no longer include the GeniSys™ Controller Guide within the model specific Owner’s Manual. The correct GeniSys™ Controller Guide must be downloaded and/or printed separately. Please check the CODE version of the software installed within the organ to determine which version of the GeniSys™ Controller Guide is required. The CODE version is briefly displayed within the GeniSys™ Controller’s LCD display when the organ starts up. Copyright © 2016 Allen Organ Company All Rights Reserved AOC P/N 033-00221-1 Revised 10/2016 ALLEN ORGAN COMPANY For more than sixty years--practically the entire history of electronic organs-- Allen Organ Company has built the finest organs that technology would allow. In 1939, Allen built and marketed the world’s first electronic oscillator organ. The tone generators for this instrument used two hundred forty-four vacuum tubes, contained about five thousand components, and weighed nearly three hundred pounds. Even with all this equipment, the specification included relatively few stops. By 1959, Allen had replaced vacuum tubes in oscillator organs with transistors. Thousands of transistorized instruments were built, including some of the largest, most sophisticated oscillator organs ever designed. Only a radical technological breakthrough could improve upon the performance of Allen’s oscillator organs. Such a breakthrough came in conjunction with the United States Space Program in the form of highly advanced digital microcircuits. In 1971, Allen produced and sold the world’s first musical instrument utilizing digitally sampled voices! Your organ is significantly advanced since the first generation Allen digital instrument. -
Howe Collection of Musical Instrument Literature ARS.0167
http://oac.cdlib.org/findaid/ark:/13030/c8cc1668 No online items Guide to the Howe Collection of Musical Instrument Literature ARS.0167 Jonathan Manton; Gurudarshan Khalsa Archive of Recorded Sound 2018 [email protected] URL: http://library.stanford.edu/ars Guide to the Howe Collection of ARS.0167 1 Musical Instrument Literature ARS.0167 Language of Material: Multiple languages Contributing Institution: Archive of Recorded Sound Title: Howe Collection of Musical Instrument Literature Identifier/Call Number: ARS.0167 Physical Description: 438 box(es)352 linear feet Date (inclusive): 1838-2002 Abstract: The Howe Collection of Musical Instrument Literature documents the development of the music industry, mainly in the United States. The largest known collection of its kind, it contains material about the manufacture of pianos, organs, and mechanical musical instruments. The materials include catalogs, books, magazines, correspondence, photographs, broadsides, advertisements, and price lists. The collection was created, and originally donated to the University of Maryland, by Richard J. Howe. It was transferred to the Stanford Archive of Recorded Sound in 2015 to support the Player Piano Project. Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, California 94305-3076”. Language of Material: The collection is primarily in English. There are additionally some materials in German, French, Italian, and Dutch. Arrangement The collection is divided into the following six separate series: Series 1: Piano literature. Series 2: Organ literature. Series 3: Mechanical musical instruments literature. Series 4: Jukebox literature. Series 5: Phonographic literature. Series 6: General music literature. Scope and Contents The Howe Musical Instrument Literature Collection consists of over 352 linear feet of publications and documents comprising more than 14,000 items. -
June 2007 Newsletter Revised.Pmd
Hilbus Chapter The Organ Historical Society, Inc. Where the Tracker Action Is! www.hilbus.org Volume 36 Number 10 June 2007 Whole No. 332 Saturday, June 23, 2007 Three Unique Pipe Organs of the Bel Air, Maryland area [THANKS TO KEVIN CLEMENS FOR ARRANGING THIS DAY!] 10:00 AM Christ the King Presbyterian Church 10 Lexington Road Bel Air, MD 21014 Reuter Pipe Organ, Opus 2203 (installed 2000) This is one of the very few Reuter Pipe Organs found in the Baltimore area. A small organ of 11 ranks, it is very versatile and fills the small sanctuary. Larry Mentzer is the organist and host. Church members have requested to attend to hear us play the organ. Bring your organ music and organ shoes. Directions: Interstate 95 - North toward New York. Exit at 77B toward Bel Air on to MD 24 North. Stay in far right lane and merge on to MD 924 which is Emmorton Road; turn on to Lexington Road. Christ the King Presbyterian Church is on right hand side of Emmorton Road and parking is in the back on Lexington Road. 11:15 AM First Presbyterian Church 224 North Main Street Bel air, MD 21014 Austin Pipe Organ, Opus 2339 [crawl information continued next page] CHAIRMAN: Carl Schwartz, 12802 Ruxton Road, Silver Spring, MD 20904 (301) 236-0315 VICE CHAIRMAN: Kevin Clemens, 711 Court Square Way, Edgewood, MD 21040 (410) 679-2271 SECRETARY-TREASURER: Barbara Birckner, 6606 Farmer Drive, Fort Washington, MD 20744 (301) 449-4399 EDITOR: Thom Robertson, 7511 Ashby Lane, Unit A, Alexandria, VA 22315 (703) 922-0719 EDITORIAL A DVISOR: Carolyn Fix, 116 Battle Street, SW, Vienna, VA 22180 (703) 281-5046 Articles and news may be submitted to the Editor electronically: [email protected] Dues due in October: $14, mailed to Secretary-Treasurer (Checks payable to Hilbus Chapter, OHS) Page 1 This is a large 2-manual pipe organ of 26 ranks in a medium size sanctuary. -
Silent Film Music and the Theatre Organ Thomas J. Mathiesen
Silent Film Music and the Theatre Organ Thomas J. Mathiesen Introduction Until the 1980s, the community of musical scholars in general regarded film music-and especially music for the silent films-as insignificant and uninteresting. Film music, it seemed, was utili tarian, commercial, trite, and manipulative. Moreover, because it was film music rather than film music, it could not claim the musical integrity required of artworks worthy of study. If film music in general was denigrated, the theatre organ was regarded in serious musical circles as a particular aberration, not only because of the type of music it was intended to play but also because it represented the exact opposite of the characteristics espoused by the Orgelbewegung of the twentieth century. To make matters worse, many of the grand old motion picture theatres were torn down in the fifties and sixties, their music libraries and theatre organs sold off piecemeal or destroyed. With a few obvious exceptions (such as the installation at Radio City Music Hall in New (c) 1991 Indiana Theory Review 82 Indiana Theory Review Vol. 11 York Cityl), it became increasingly difficult to hear a theatre organ in anything like its original acoustic setting. The theatre organ might have disappeared altogether under the depredations of time and changing taste had it not been for groups of amateurs that restored and maintained some of the instruments in theatres or purchased and installed them in other locations. The American Association of Theatre Organ Enthusiasts (now American Theatre Organ Society [ATOS]) was established on 8 February 1955,2 and by 1962, there were thirteen chapters spread across the country. -
The Windline the Windline
TheThe Windline Windline May 2017May – Page 2017 1 Susquehanna Valley Theatre Organ Society www.svtos.org Monday, May 8th at 7:00 PM Organ Supply Industries has its origins in two organ builders whom Erie investors encouraged to move their operations to Erie in the late 19th century. They include the Burdett Reed Organ Company, of Chi- cago, a reed organ manufacturer whose operation was destroyed in the Great Chicago Fire of 1871; and the A. B. Felgemaker Organ Com- pany, originally of Buffalo, New York. The Tellers-Kent Organ Compa- ny, sprang from two Felgemaker employees in 1906. A. B. Felgemaker sent Anton Gottfried and his colleague Henry Kugel from Philadelphia, Pennsylvania to Erie, where they set up shop in the Felgemaker plant. The A. Gottfried Organ Company relocated to its own Erie facilities in 1905. Gottfried and Kugel had previously worked for the Haskell Company, a prominent organ manufacturer in Philadelphia. Fred Durst, of Hinners Organ Company of Pekin, Illinois, joined as superintendent of A. Gottfried Organ Company in 1917. Harry Auch and John Hallas, of the Haskell Company, came to Erie in 1920 to join Gottfried, Kugel, and Kugel's son Harry Kugel in the formation of a metal organ pipe manufacturer called National Organ Supply. Durst and Henry Kugel's sons Harry and Ruben Kugel formed Organ Supply Corpo- ration in 1924. The pipe manufacturing company was purchased by Organ Supply Corporation in 1958. Fred Gluck purchased the Organ Supply Corporation in the early 1970s and merged it with Durst and Company to form Durst Organ Supply Company, Incorporated. -
A PROFILE of CHARLES M. RUGGLES, BUILDER of HAND-CRAFTED MECHANICAL ACTION ORGANS by Mark A. Herris Submitted to the Faculty Of
A PROFILE OF CHARLES M. RUGGLES, BUILDER OF HAND-CRAFTED MECHANICAL ACTION ORGANS by Mark A. Herris Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2016 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Janette Fishell, Research Director ______________________________________ Christopher Young, Chair ______________________________________ Eric J. Isaacson ______________________________________ Elisabeth Wright April 6, 2016 ii Copyright © 2016 Mark A. Herris iii Dedicated to Christy, Ryan, and Sam iv Acknowledgements I am thankful for all of the support I have received in completing this project. It has been an honor to work extensively with Charles M. Ruggles over the past several months, and this project would not have been possible without his substantial support and time. I would like to thank my research director, Professor Janette Fishell, for her feedback and direction as this project came to fruition. I cannot thank her enough for challenging me to do my best. I am also indebted to Professors Christopher Young, Eric J. Isaacson, and Elizabeth Wright for graciously agreeing to serve on the committee for this paper. I am grateful for my organ teachers who have helped me get to this point, including Christopher Young, Craig Cramer, Gail Walton, and Jack Vogelgesang. I would like to acknowledge David Kazimir and Bob Finley for their assistance in developing my understanding of organ building. Special thanks goes to Leslie Weaver for her expeditious editing of my paper.