Pierre Lauwers Posted December 24, 2005 Share Posted December 24, 2005 I agree of course: Howells, for example, needs the Vox angelica and not the Voix céleste. But the french version is rather crude compared to the best german type. Here is a sample of a Sauer Voix céleste: http://www.aeoline.de/Ronsd_MP3/Voixcoel8_II.mp3 Pierre Link to comment Share on other sites More sharing options...
Pierre Lauwers Posted December 26, 2005 Share Posted December 26, 2005 Well, I showed my 10 stops design to Gerhard Walcker to have an idea of the price. Not only did I got a price -135.000 Euro- but this organ stands now on the firm's catalogue. He added a Gamba, while the Physharmonika will be playable on both manuals and the Pedal. Best wishes, Pierre Link to comment Share on other sites More sharing options...
Colin Harvey Posted December 26, 2005 Author Share Posted December 26, 2005 It is probably true to say that the Willis-type Salicional and Vox Angelica are more restful in prolonged use than the more reedy Gamba-style ranks often used. Personally, I think that there is a place for both. Thomas Murray was once asked (by Geoffrey Morgan) what stops he would have on a practice-organ if it could only contain two ranks. He immediately replied "Awww, a Salicional and a Céleste!" In reply to Pierre's comment about a Céleste needing to be soft - the Unda Maris and Salicional on the (unenclosed) Positif Orgue at N.-D. are huge! (But still useful and beautiful in tone.) <{POST_SNAPBACK}> I heard a similar story from Geoffrey about Tom Murray: "what's the correct position for the swell shoe?" <normal bafflement> "Movang!" The word "restful" is probably right with salis and vox angelicas - soporific is another word that could be applied. But they don't really work with other stops. They add nothing to Gambes or Claribel flutes. I think Henry Willis is to blame. Link to comment Share on other sites More sharing options...
Pierre Lauwers Posted December 27, 2005 Share Posted December 27, 2005 It all depends upon the music which is played upon a stop; this may be compared with the temperaments. Ancient music played with aequal temperament may sound less interesting than with a mean-tone one (for which it was indeed composed), while for modern music it is just fine. If you play Howells with a french Voix céleste, the result will be somewhat harsh, because the 19th century french music was not as loaded with chromaticism, for example. The Vox angelica may reveals itself with "intense" music. To have the two is indeed a good idea. Best wishes, Pierre Link to comment Share on other sites More sharing options...
Pierre Lauwers Posted December 29, 2005 Share Posted December 29, 2005 Here is the Physharmonika played at three different strenght levels: The softest: http://www.aeoline.de/Mp3/Physharmonica/Physharmonika01.mp3 Louder: http://www.aeoline.de/Mp3/Physharmonica/Physharmonika02.mp3 The loudest: http://www.aeoline.de/Mp3/Physharmonica/Physharmonika03.mp3 With 16-8-4 flues, as it will be in my 10-stops scheme. Best wishes, Pierre Link to comment Share on other sites More sharing options...
Tubular_pneumatic Posted February 1, 2006 Share Posted February 1, 2006 Okay, I'll bite.... Great Organ 8' Open Diapason 8' Spitz Floete 4' Principal 2' Fifteenth Swell to Great Swell Organ 8' Viola d' Gamba 8' Rohr Floete 4' Gemshorn 16' Bass Clarinet 8' Cornopean Tremolo Pedal Organ 16' Bourdon Great to Pedal Swell to Pedal 4" w.p., both divisions enclosed separately. Tubular-pneumatic action of course! (C: - Nathan Link to comment Share on other sites More sharing options...
Guest yfd Posted February 1, 2006 Share Posted February 1, 2006 Manual I Metalbourdon8 Kupferprincipal4 Flachflote2 Mixtur-II-1-1/3 Manual II to I Manual-II Gemshornprinzipal8 Celeste8-tc Spitzflote4 Fugara2 Hautbois8 Tremulant Manual I to II Pedal Gedecktbass16 Manual I to P manual II to P Link to comment Share on other sites More sharing options...
J Maslen Posted February 2, 2006 Share Posted February 2, 2006 I may be wrong, but I recall reading in a book about 'Father' Willis that he used to use an open wood stop which he called Violone in his small instruments. Can anybody confirm this, has anyone ever played one, and was it a viable alternative to the Bourdon? If I remember rightly the author seemed to think so - was he right? Regards John Link to comment Share on other sites More sharing options...
Guest Lee Blick Posted February 3, 2006 Share Posted February 3, 2006 GREAT 8 Gemshorn 8 Stopped Diapason 4 Principal 8 Clarinet Swell to Great SWELL 8 Flute 8 Dulcianna 4 Geigen Principal 2 Piccolo Octave PEDAL 16 Violone 4 Choral Bass Great to Pedal Swell to Pedal Link to comment Share on other sites More sharing options...
Pierre Lauwers Posted February 3, 2006 Share Posted February 3, 2006 Interesting, Lee. But not even an Open Diapason? This is a bit like a Fish & Chips without any chips nor fish, isn't it? Pierre Link to comment Share on other sites More sharing options...
Colin Harvey Posted February 3, 2006 Author Share Posted February 3, 2006 GREAT8 Gemshorn 8 Stopped Diapason 4 Principal 8 Clarinet Swell to Great SWELL 8 Flute 8 Dulcianna 4 Geigen Principal 2 Piccolo Octave PEDAL 16 Violone 4 Choral Bass Great to Pedal Swell to Pedal <{POST_SNAPBACK}> Hmmm, perhaps just nomenclature about the 8 Gemshorn/ open Diapason? the 4' on the pedal seems to be a strange luxury on an organ so small. A throwback to the neo-classical style where an organ wasn't complete without at 4 Choralbass or Schlamei ()? Otherwise, this looks like a good 'un to me. Be good for choirs and stuff. Link to comment Share on other sites More sharing options...
Pierre Lauwers Posted February 3, 2006 Share Posted February 3, 2006 Hmmm, perhaps just nomenclature about the 8 Gemshorn/ open Diapason? the 4' on the pedal seems to be a strange luxury on an organ so small. A throwback to the neo-classical style where an organ wasn't complete without at 4 Choralbass or Schlamei ()? Otherwise, this looks like a good 'un to me. Be good for choirs and stuff. <{POST_SNAPBACK}> The pedal upperwork with a hole in the harmonic series existed in Bach's organs, but it was usually 16-8-2. An Open Diapason named Gemshorn? Well, there would be some Schnapps instead of the Brandy in the pudding! Best wishes, Pierre Link to comment Share on other sites More sharing options...
Guest Lee Blick Posted February 3, 2006 Share Posted February 3, 2006 I chose a Gemshorn instead of a Diapaon cos I didn't want something too heavy dominating the chorus. If I am right, Manders used to have 16' + 4' pedal departments in their smaller organs. Link to comment Share on other sites More sharing options...
Graham Powell Posted February 3, 2006 Share Posted February 3, 2006 I chose a Gemshorn instead of a Diapaon cos I didn't want something too heavy dominating the chorus. If I am right, Manders used to have 16' + 4' pedal departments in their smaller organs. <{POST_SNAPBACK}> Like this one perhaps - http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N08947 Graham Link to comment Share on other sites More sharing options...
Colin Harvey Posted February 3, 2006 Author Share Posted February 3, 2006 Like this one perhaps - http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N08947 Graham <{POST_SNAPBACK}> Exactly ..... something very neo-baroque from the 70s! 8' flute the basis of the Great Mixture chorus, etc.... You could, of course, have a moderate scaled and voiced Open Diapason which isn't too heavy and call it "Open Diapason" but each to his own.... Perhaps we could have a "Lee Blick Diapason"? [groan] Re. Pedal 4': I thought that the "gap" in the harmonic series of the Bach organ was not to produce a "gappy" chorus but to provide a solo stop in the tenor or soprano in the pedals. Usually, those 4 & 2 "solo" stops are very sonorous and don't really form part of the plenum in the pedal division unless you're pulling out everything. Link to comment Share on other sites More sharing options...
Pierre Lauwers Posted February 3, 2006 Share Posted February 3, 2006 "I thought that the "gap" in the harmonic series of the Bach organ was not to produce a "gappy" chorus but to provide a solo stop in the tenor or soprano in the pedals. Usually, those 4 & 2 "solo" stops are very sonorous and don't really form part of the plenum in the pedal division unless you're pulling out everything." (Quote) This is indeed exact and documented. It is interesting to note this feature vanished in the course of Bach's life, and Pedals like 16-16-16-8-8- (32)-16-(8) became customary. The Pedal Cantus Firmus was going out of fashion... As for the Open Diapason, there are of course many types between the Diapason Phonon and a Green O.D! I believe this is the very first stop to write in any design. Best wishes, Pierre Link to comment Share on other sites More sharing options...
Guest Lee Blick Posted February 4, 2006 Share Posted February 4, 2006 Perhaps we could have a "Lee Blick Diapason"? Sure, sweet, soft and very long.... Link to comment Share on other sites More sharing options...
pcnd5584 Posted February 8, 2006 Share Posted February 8, 2006 Hmmm.... I am not convinced by the GO - a clarinet in this size of instrument seems to me to be rather a luxury. The scheme below is similar (but not identical) to an organ which I played for several years as a teenager. It was surprisingly effective - and could give a reasonable account of much repertoire. The strings were very useful in service-playing. The GO Fifteenth was like a small mixture - it was the old GO Dulciana cut down. The Dulciana in its original form, I never used! Somewhere I have a recording of the Dupré Prelude and Fugue, in B major, recorded on this organ. It works fine - it does not sound like St. Paul's or, for that matter, Nôtre-Dame, but it is reasonably effective. PEDAL ORGAN Violone (W) 16 Great to Pedal Swell to Pedal GREAT ORGAN Open Diapason 8 Stopped Diapason 8 Principal 4 Fifteenth 2 Swell to Great SWELL ORGAN Wald Flute 8 Viola 8 Vox Angelica (AA) 8 Gemshorn 4 Hautboy 8 Tremulant Sub Octave Link to comment Share on other sites More sharing options...
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