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  1. Yesterday
  2. Pershore Abbey

    Three stops, actually - see the console photo on the Buckfast thread. I have no idea whether they are full ranks or single pipes. From the stop knobs I'd guess the latter.
  3. Pershore Abbey

    Must say that I'm more than a touch mystified as to why the new Ruffatti at Buckfast contains a stop listed as "Bagpipes." I can't see or imagine its use in a liturgical sense other than during the feasts of St Andrew or another Scottish saint.
  4. Pershore Abbey

    Regarding the Pershore and Buckfast instruments I wonder whether the tonal designs stem from repertoir, liturgical or a sort of ‘wouldn’t it be nice if we had...’ considerations or maybe a mixture of these. The Persore details seem not to be generally available yet but I would be interested to know the rationale behind some of the Buckfast elements both tonal and in the general concept. A
  5. Pershore Abbey

    They did try a couple of options at Buckfast.
  6. Celestes

    The celeste is tuned slightly sharp (about 3 beats a second) or flat to the other rank, producing a pleasant heterodyning when the two are drawn together. In some organs, the celeste is also pleasant used with other stops. The in-tune rank may not be exactly the same scale and voicing as the celeste, depending on the builder and the effect desired. I believe it is better to tune the celeste to the in-tune rank throughout the compass, rather than tuning the middle octave and doing the rest in octaves. With the latter practice, the upper notes can be unpleasantly quick in their beat.
  7. Celestes

    If the two ranks are of identical design, construction, winding and voicing how can there be any difference if no other stops are being used to give a sense of the pitch of the instrument?
  8. Last week
  9. Celestes

    It's been pointed out, not least by skilled organ-builders, that planting the undulating rank next to the in-tune rank causes the two to pull into tune with each other, thereby negating the celeste effect. Thus, it is common practice to put the undulant next to the Open Diapason, away from the salicional, gamba or what-have-you. This would spoil the effect of Open and Celeste called for, for example, in Whitlock's Folk Tune. However, Whitlock was a Compton fan and probably thinking in terms of his Compton at Bournemouth. In such an instrument, each rank might stand on its own soundboard and therefore it would be quite practicable to draw the celeste with the diapason and achieve the effect Whitlock specifies. On the subject of celestes, I (nearly) always find that a sharp celeste is a much nicer sound than a flat one. When the 1908 Walker at St. Leonard-at-the-Hythe, Colchester was ably restored by ex-Walker man Ken Canter in 1973, he tuned the celeste flat and I didn't like it. He said that Walker celestes were normally tuned flat, but sharpened it for me and the old effect returned. I still think it's one of the nicest celestes that I know. Can anyone tell us whether certain builders tuned celestes sharp or flat? I think I have previously mentioned on this forum the organ at Burnham-on-Crouch, Essex, where I went to hold keys in 1971 when John Budgen (Bishop & Son) called in to give it a check-over prior to the opening recital by Gordon Phillips. The church organist asked for the celeste to be tuned flat, but there wasn't enough length in the pipes, so it had to be left sharp. Afterwards, the organist said what a difference it made to have the celeste flat.....
  10. Celestes

    How about if the two ranks were to be placed together, yet their mouths facing away from each other?
  11. Pershore Abbey

    Oh dear, a thread appears about an exciting new Italian pipe organ and half the posts seem to be about various types of toasters (in the case of the Comptons, you probably could use them to make toast...) On the topic of toasters however, i wonder if they have ever been used in a big space when designing a pipe organ to test how the acoustics would vary depending on its siting? Of course an organ designer could do the same experiment just as easily with a few big speakers hauled around the church. Given the (probably rare) situation where there is a genuine choice of locations in which to install a pipe organ in a building, how does one go about determining the most suitable location, bearing in mind the comments attributed to John Norman at Pershore Abbey above?
  12. Celestes

    However, many 2 rank celestes do have both ranks quite close and function perfectly well. My celeste is separated by just one rank (bourdon 8'). If the two undulating ranks are placed too far apart, then any temperature difference (caused by winter heating etc.) might noticeably slow or speed up the undulation. I've read of the idea that pipes playing close together tend to pull one against the other, but I've yet to hear a physics-based explanation unless their mouths are close and facing each other. The C /C# pipe planting has more to do with weight and space distribution on the soundboard than sound - though I hope to illicit some interesting comments to the contrary. Chromatic soundboards seem to sound the same to my ears.
  13. Celestes

    Undulating ranks are certainly better placed well apart. At Tonbridge School, Marcussen have placed the Solo undulating ranks next to each other but on elevated pipe blocks, in much the same way as a Cornet may be mounted. The Swell Voix Celeste is also stood up high on an elevated block, directly above the slide on which it stands. On another organ where we added a Celeste, the Swell Box had been enlarged to accomodate a 16' reed bass and the Celeste went in there, too. As a result, the Celeste will beat happily and consistently with the Sw Open, Lieblich or Gamba, giving three distinct choices of undulant. Whilst it's true that on some organs, drawing the Celeste alone will automatically bring on the unison string stop as well, this is usually done by a linkage in the stop actions. It doesn't necessarily imply that the two ranks must stand next to each other on the soundboard. I hope that adds a little insight. Anything which gets away from the 'snivelling strings' syndrome has got to be a good thing!
  14. Pershore Abbey

    Not sure what was there before (may have been an Allen but I have a feeling it was a Makin...) but Sutton Valence now have a custom Viscount.
  15. Celestes

    When dealing with undulating ranks, where should the de-tuned rank be placed? I have read that the unison and sharp/flat rank should be separated by (at least?) one other rank. On the other hand there are compound two-rank celestes stops which must have both sets of pipes on the same slide, together. Does it matter? Advice please.
  16. Beauvais Cathedral

    Oh no! Apologies to Olivier Latry. My other half finds it amusing to refer to him with the alternative surname (revenge for having to sit in cold churches listening to organ music) and it's obviously lodged in my head. Really interesting to hear about the dermogloste John Robinson, thank you.
  17. Beauvais Cathedral

    I’m hoping it was an unintentional auto-correct.
  18. Pershore Abbey

    So, as we can see, there were a number of touring organs and it's likely that several of them are now installed somewhere or other. Virgil Fox had at least one Allen touring organ (as well as the earlier "Black Beauty" by Rodgers). At least one of Carlo's was advertised for sale in "Musical Opinion". I remember playing the ex-Free Trade Hall Compton Electrone in its subsequent home in a house in St. John's Wood. An impressive beast for its period (it followed closely on the heels of the temporary Electrone which Compton made for the Festival Hall before the Harrison went in). Sorry, getting off-topic here......
  19. Beauvais Cathedral

    Did Laurie mean to refer to Olivier Latry, or is there another organist we have never heard of whose name is not helping his career?
  20. Beauvais Cathedral

    I found this reference to that (unique) stop on this site: https://list.uiowa.edu/scripts/wa.exe?A2=piporg-L;8d4a4bec.9912A The Pedale Dermogloste 8' in the Danion-Gonzales at Beauvais Cathedral is one of many stops in that organ retained from the original 1827 organ by Cosyn. It's an 8' reed stop of the Basson type, with leathered shallots; hence the name, derived from Greek, meaning something like "skin/tongue". Its original pitch was 12', as the Pedale went to low FF. But in 1922 the Pedale was rebuilt to standard C compass and the low 7 notes disappeared, making this an 8' stop. Normally French nomenclature is pretty straightfoward and unfanciful, but this organ was an exception: it also had a fifth manual of three free-reed stops expressive via variable wind-pressure: Conoclyte, Terpomele, and Euphone. (Source: Berna, Jacques, Les grandes orgues de la cathedrale Saint-Pierre de Beavais, 1530-1979, Cahiers et Memoires de l'Orgue, no. 25, 1981/I)
  21. Beauvais Cathedral

    I was lucky enough to play this instrument a couple of times when I was a teenager. Apart from being very heavy to play with all manuals coupled (there is an 'assistance' stop which is meant to help) I think it is a fantastic instrument. I can see how the mixtures seem strident to some, but I actually quite like the clarity and brightness. I also particularly like the bombards on the pedal which sounds unlike any other I've heard. It's powerful but not 'muddy'. The 'dermogloste' stop intrigued me too. I think it is unique to Beauvais. Some kind of free Reed I think. Wish I could remember what it sounded like. Jennifer Bate and Jane Parker-Smith's recordings there are still amongst my favourites. Although Olivier Latrine's Messiaen is perhaps pipping Jennifer to the post at the moment.
  22. St Mary’s, Stoke Newington

    There are a couple of pictures of the organ and console taken earier this year on the web: pic.twitter.com/Zv7RwCyEIK with visible evidence of it being used at least from time to time. And a pic of the pipes looking quite safe too!
  23. St Mary’s, Stoke Newington

    I remember this organ being installed, but I am afraid I don't know anything about it and we haven't maintained it for many years now. I rather doubt the prepared-for stops ever got installed, but I can't be certain. John
  24. Pershore Abbey

    I know that one of his former organs is in the Roman Catholic Forces Cathedral, of St. Michael and St. George, in Aldershot.
  25. Pershore Abbey

    Anybody who knows better please correct me if I'm mistaken, but I believe Carlo's former organ (or one of them) is now at Sutton Valence School in Kent.
  26. Pershore Abbey

    Yes, that's correct - Carlo Curley's ashes are buried within the grounds of Pershore Abbey
  27. Pershore Abbey

    I have a feeling that a previous incumbent at Pershore was a good friend of CC and that CC’s memorial service was actually held there. It will be interesting to see what Ruffatti come up with. Certainly, on paper at least their more recent instruments look decidedly tonally ‘eclectic’ and almost even random. Having heard their work only via recordings however, I do not feel qualified to fairly judge this aspect. Off topic but does anyone know any more about the ‘what and why’ of their work on the Tickell at Keble College Oxford? I heard it not long after its creation and it sounded very fine then. A
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