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Claviorgue

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About Claviorgue

  • Birthday 20/08/1945

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    Clécy. France

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  1. It only took me 11 months to sort out the photo, sorry.
  2. I thought that you would like to see the modest instrument Photo created as the backdrop of the Salzburg production Handel's Theodora at last years festival. Seated at the more modest Klop organ is our "Star" James McVinnie James McVinnie
  3. I was interested by your comments. The instrument does sound quite different from those first exciting recordings of the sixties and seventies. We now have the new and very interesting DVD’s issued on the Priory label. These recordings are so clear and so revealing. In the interim period we have had forty years to absorb the sound of some of the finest instruments, either live or in recordings and in doing so have probably formulated a balanced view of the English cathedral organ as part of a larger picture? I am loath to mention anything about such an iconic instrument and I would be reluctant to criticize the output of our favourite recording company. The fact is that recording dates are presumably booked years in advance and there is an element of risk as to how the instrument is going to behave at any one time. Certainly the tuning is not good and sound of the organ running out of wind in the last piece is a disappointment. All of this could be to unforeseen problems and I perfectly accept the recording as very interesting picture of the York instrument in 2008.
  4. It is not a stupid question. It is to do with the latter of your assumptions. Air density changes with temperature. Cold air has a higher density and therefore sound/frequencies travel slower. We could bring in the factor of humidity here, but perhaps we have enough to fill our collective heads for the moment? It is amusing that we are responding to a four year old post. I hope that the original writer is not offended by our tardiness? In conclusion, I am hoping that someone better versed in the laws of physics is going to give us some hard facts. In the meanwhile I will continue with my rather crude rule of thumb technique.
  5. My idea would be to tune the instrument when the room is at 25c. My rough calculations are that flue pipes sharpen by approx 0.6 Hz per degree Celsius. Therefore if the temperature at the beginning of the concert is say, 22c, your reed rank is going to be sharp by almost 2 Hz. Hopefully, by the end of the concert and the temperature perhaps as high as 27c, the reeds will be still no more than 2 Hz different from the flues. The overall pitch of the instrument has no consequence unless other instruments are involved. This is a very rough guide and does not take into consideration the temperature at different levels in the room.
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