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  2. I've always had a huge admiration for Nigel, an amazing musician, since he gave me some improvisation lessons as a student. That increased even more a few years ago when he was in the news for the principled stand he took as a magistrate. I'll look forward to watching this.
  3. Yesterday
  4. I've stumbled into a very entertaining and interesting talk by Nigel Allcoat, telling his life story. I would recommend it. and
  5. That’s going to be our plan too, when services are inside. We hope to be outside for many of the Sundays from now until the end of September though and we will encourage everyone to sing. Social-distancing: I think our plan is to have the North side of the church to be a free-for-all and the South side to remain for those who wish to maintain social-distancing as before with alternate pews roped off.
  6. I did some googling and turned up this Facebook thread which contains a couple of potentially helpful photos... https://en-gb.facebook.com/groups/122306631156014/permalink/3086060881447226/ And also this: http://www.organstops.org/c/Cubus.html
  7. There are pictures of the polyphones at Bridlington and Christchurch Priory on the NPOR.
  8. Many thanks for your most helpful post, John. One forgets the completely different nature of the true Spanish chamade trumpet stops compared with almost anything I have experienced over here. If you do have time to comment further, that would be most interesting. This has all come up in the process of looking for something to play as a concluding voluntary on Sunday - St James the Apostle, patron saint of Spain.
  9. I cannot resist also mentioning the 32ft Sub-Bass, a polyphone, in the presently sadly silent Forster & Andrews/John Compton organ of Hull Minster.
  10. As I’ve said on here previously (somewhere), there were plans for an Iberian-style organ for a church in London, associated with one of the conservatoires. These were mooted some ten, or more, years back, but seem to either be in abeyance, or have foundered. I would be most interested if they were ongoing. ‘Authentic’, Iberian-style instruments have been installed in the last few decades at locations in Spain, the U.S. and France (possibly, a few other EU countries – I forget), with hybrids in Spain itself. The true ‘Spanish’ Trompeta is a tad different from the high-pressure simulacrums with similar names here, and elsewhere. As OwenTurner hints, to have these things blazing and fizzing away (true aural fireworks) just above one’s head is a privilege and awe-inducing. Listening to these recordings Sonata de Primer Tono Con Trompeta Real - YouTube Sonata de 1 tono para clave o para organo con trompeta real - YouTube Sonata de 1 tono - YouTube will reveal a tendency for the (often uneven) reed to be reinforced with a Corneta, sometimes this can be done with Flautados. One of these even ends without the Trompeta. Remember, many of these instruments were one (split) manual. Speedy stop-changing without an assistant was often tantamount to impossible. However, larger instruments would, of course, allow a more ‘varied’ interpretation. I don’t think there are set rules for how to register this piece – though it is later than the repertoire I used to perform. It has a bipartite structure (cf Scarlatti’s keyboard sonatas), with repeats: this presumes, or provides an opportunity for, varied registration. Note that this Sonata is “for keyboard OR organ . . .” Lidón was at the end of the heyday of the ‘Spanish Classical Organ’ and this tradition was quickly dissolving. I do not have any more time this morning, but may comment on the recordings above in more detail, later.
  11. There's a chap, I think his name is Tim Trenchard, who might have the specs and can build them. He was looking after the Downside organ so plenty of experience there.
  12. Last week
  13. I'm grateful for that. Thank you, Darius.
  14. You probably know this recording already. Obviously you can’t tell absolute loudness from a record but I remember being stunned by this sound world first time I heard it. https://www.discogs.com/Francis-Chapelet-Orgues-Historiques-Espagne-Trujillo-Covarrubias/release/3337391 Greyfriars Edinburgh shouted well when new. Not heard it for decades and I believe it’s a challenge to keep it all working.
  15. I've seen the Bridlington one, but am none the wiser for that. As Nicholsons rebuilt it I daresay they know how it works so I will ask them - and tell you if I find out anything interesting.
  16. I'm just wondering if anyone has discerned what sort of registration Lidon had in mind when he wrote this piece. I am very aware of George Guest's recording on the St John's, Cambridge instrument in which the chamade was used for both hands. I know little about Spanish organs but am I correct in thinking that the John's chamade is much louder than those in Spain? I have no opportunity to play this piece on an organ equipped with a chamade, but if I did, would it be appropriate to play the A section through on the chamade alone (both hands), repeat on some chorus work, and then repeat this pattern in the B section. If not, what? And, in this country, what would be the best instrument of all those with chamades, to play the piece on, even if the full Spanish organ sound is unattainable.
  17. We're starting to sing on Sunday, but it's only going to be the last hymn. The risk averse will be given the option to leave before it's sung .
  18. Hi We'll be singing - first service is a memorial service on Friday. The guidelines, taken I understand from the Baptist Union's advice, is to continue to wear masks, and not sing too loud! (I can't see some of our folk sticking to the last point!) I'm not sure what, if anything, we're doing about social distancing. Sunday morning should be fun. Every Blessing Tony
  19. Hi Going back a few posts, I have seen (and played from) a book of short pieces to accompany silent films. The Flukes had one in the late lamented Reed Organ Museum in Saltaire. The book usually lived on the "Orgapian" - a combined upright piano & reed organ designed and marketed for cinema use in the silent film days. I've played a couple of extracts from the book when doing demonstration recitals at the museum a few years back. The pieces were all short - no more than one page, and virtually sight-readable. I've never seen another such collection, but I guess they were common at the time. The Orgapian is now in a new museum that's being set up in the East Midlands, and I'm looking forward to re-acquainting myself with the beast (and other instruments in the collection). I think only 2 of these beast still exist. Every Blessing Tony
  20. Darius. I have absolutely no idea! But that would be a solution - although it does say 'one pipe'! But on the subject of the POLYPHONE. I wonder if anyone has any diagrams/drawings/measurements of this - or can explain how it works. We are trying to get hold of one to measure it/take it apart etc. - but, so far, without success!.
  21. What's the 'one pipe' 32' Bombarde? Is it something like the polyphone at Bridlington Priory where one pipe plays a whole octave of notes?
  22. Just a little more on G.T. Pattman. He ordered, in 1916, a four manual, twenty seven stop, 'travelling organ'. The fourth manual was a piano. It cost him £3000. The specification is on NPOR. NPORView N04178 I can't find a picture of it though! The organ found its way into Durham School Chapel where it was rebuilt, in 1941 and 1987 by Harrison & Harrison and in 2007 by Henry Willis.
  23. Norman Cocker, as already mentioned, but using his own name in a cinema at Altrincham if my memory serves. Rather more surprising, and the source is our own Musing Muso, Osborne Peasegood, sub-organist of Westminster Abbey played at a cinema in Acton. If any further corroboration needed, MM will have to supply it. A not wholly unrelated anecdote. I once met Douglas Reeve on an association visit to the dual-purpose Christie/ HN&B organ at The Dome, Brighton. Before demonstrating a non-stop one hour programme played from memory, he regaled us with various reminiscences. As a teenage cinema organist he had gone to Canterbury Cathedral and rather timorously asked to see the organ. On meeting the organist Dr C C Palmer he ventured that he was also an organist. Dr Palmer enquired where, and when a cinema organ was mentioned the Doctor expostulated “the prostitution of art”! In spite of that put-down Douglas Reeve told the story with great humour.
  24. Touring organ! Ah ha! Thank you for the prompt S_L. Some time ago, for reasons unknown even to me, I was trying to find evidence of a touring organ which I'd read about, and which had eventually found its way to New Zealand, I thought Dunedin. But I could find nothing. This comment rekindled that thought, and within a few minutes I'd found it. What was originally "The Bathurst Mammoth Cathedral Organ" built by HN&B is indeed now in Dunedin Town Hall, known as Norma, and apparently in good order for a centenarian, although probably less mobile than before. Even if well known to everyone on the forum except me, it was still fun finding and reading about it. Dunedin Town Hall Organ "Norma" (cityofdunedin.com) Norma's 100th 'Birthday Bash' to be a blast | Otago Daily Times Online News (odt.co.nz)
  25. I wonder if one of the names you are looking for is George Thomas Pattman FRCO. He was assistant at Peterbrough under Haydn Keeton and then, variously, at Scarbrough, Hessle, Bridlington Priory (where my maternal grandmother knew him) and St. Mary's Cathedral in Glasgow. He left Glasgow around 1916 and ordered, from Harrison & Harrison a large touring organ with which he toured musical halls and cinemas. He was organist of the Winter Gardens in Blackpool in 1924/5 and, during WWII was, for a short time, organist of a church in Edgware. I remember my maternal grandmother talking about Pattman who died in 1961. She lived until 1992 and died at the age of 102.
  26. Norman Cocker was quite open and unashamed about doing both, but he was a bit of a one-off generally, so perhaps not typical.
  27. An electric organ (even a sampled hauptwerk) can never match a real pipe organ. Mostly in the bass 16ft and below ranks. I'm a bass guitarist and someone once said, the only way to hear the pure note is a pipe organ. Speakers still can't match the real natural bottom end. Also, as someone mentioned how strong that could be, again, they may not have the power to match a pipe organ of a similar size. Anyway, back to the main debate. An organ I'm now playing regularly after a 25 year break had a refurb 5 or so year back. Back in the 60's an organist had a 4ft on the great and choir moved to make them a 2ft (missing the top octave). As the organist at the time of the refurb knew this he had them moved back to the original spec. Now when I play the organ, I miss those 2ft pipes. There are none on those divisions. Was the organ with the 2fts or the original spec better. The previous to refurb spec here. https://www.npor.org.uk/NPORView.html?RI=N16005 You can see the ranks that were changed.
  28. Does action have something to do with it? I can't imagine a large mechanical action organ such as Birmingham Symphony Hall having a radical rebuild such as has happened to Leeds Town Hall (down from 5 to 3 manuals, and now going up to 4). Is there something about future proofing in the design of a mechanical organ that electric action organs have more scope for moving things around and adding ranks to cubby holes until the thing becomes unwieldy and someone decides to go back to the drawing board of the original builder or some other point in time (and then continue in a giant circle perhaps)?
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