bazuin

British organists are so funny, I design a house organ and all they want to talk about is the compasses.... The simple reason for the compasses is that the vast majority of organ music fits within the compasses and the extra notes wouldn't justify the expense. It would first and foremost be a study organ after all. And the recitals I play are almost all on organs with shorter compasses than this, and almost never with compasses longer than this. Puritism, fetishism, abhorrence of EP actions has nothing to do with it. I'm not planning to learn Pagaent any time soon, (good piece though!) Cynic justified his name by writing: "I think this is a deliberately high-minded, quasi-Puritan approach by designers and [some] organ-builders. To deliberately restrict one's compass is to announce to the world, 'my organ is not built to play decadent music!' I accept that in restoring an organ, the original compass ought to count for something, but in a new instrument...... It is another fetish to rank alongside Historic Fingerings Archaic Tunings that predispose the instrument to acceptable performance of a restricted range of repertoire (and - I do acknowledge that some temperaments are very kind) All Toes Bach Playing" I'm sorry but this kind of "ignorance posing as epistle" isn't, in my opinion, worthy of this discussion. Everyone is entitled to their opinion but backing it up with something resembling evidence/knowledge helps somewhat. I am neither puritan, nor do I have a fetish, and yes I use historic fingerings when appropriate, yes I understand the importance of different tuning systems in different contexts and yes, I play Bach all toes. Why? Because I have travelled, played a lot of historic organs, and studied with some very good people. And, most importantly, LISTENED A LOT. I've even read some books. Cynic also wrote: "I notice that quite a few pedalboards stop at E 29 there too " I have yet to come across a pedalboard in the Netherlands which stops at E29, almost all pedalboards go to D27. If your facts at least were correct, maybe I could take your opinions more seriously. Hoping the tone of the discussion will improve. Bazuin

The organist of the Grote Kerk in Dordrecht (with the new, much-discussed Bach/Silbermann/Verschueren organ), Cor Ardesch practises on one of those Rushworth and Dreaper reed organs at home. Sorry to break up the hamonium chat, but to go back the original question, my house organ would look something like this (assuming I could afford it, but that the house in question would be of normal, not to say Dutch, proportions). Hoofdwerk: Praestant 8 (lead, full length at least from 6' F, stopped wooden bass if required) Octaaf 4 (lead) Nevenwerk: Praestant 8 (in oak, as in Arp Schnitger's Brüstwerks) Fluit 4 (bass in oak, treble in organ metal with high lead %) Nasard 3 (as Fluit 4', conical lead treble) Pedaal: Subbas 16' Gedekt 8' Tremulant to whole organ 3 couplers Compasses: 56/30 Flat, straight pedalboard Temperament: Kellner or similar In my experience upperwork and reeds seldom sound well in living rooms, hence this specification. Greetings Bazuin

In the Orgelpark in Amsterdam, the instrument collection includes a Mustel harmonium. Concerts are played regularly on it, (Anne Page has performed for instance). The most astonishing thing I heard was a programme of Karg-Elert original compositions and transcriptions for harmonium played by the chairman of the Karg-Elert Foundation, Johannes Matthias Michel. Some of the larger pieces are incredible (he played a tone poem about hunting that lasted around a 1/4 of an hour, the second harmonium sonata is even more than 1/2 an hour!). He is presently recording all the Karg-Elert harmonium pieces for cpo. If I have time I will try to design a house organ later... Bazuin

"Thanks. I tried to Google (dread wird!) this but got no joy. Who publishes it?" The Broude Brothers. See here: http://broudeeuropa.com/pages/blurbs.html#buxtehude The free works are listed at EUR 215.00 (expensive, but worth the investment, believe me). The chorale based works are still listed as 'in preparation'. Greetings Bazuin

I have a colleague who visited this organ recently and told me that the organ has: "mixtures that are too low, no development of foundations into the treble, action not great, sizzling principals, no swell chorus, pointless coupling manual, voicing not finished properly. It was commissioned simply because it was cheap: 140,000 for 25 stops, half of which were old pipework." He doesn't mince his words as you can see. Can anyone confirm/contradict? The idea of the UK importing cheap organs from behind the former iron curtain is, on the face of it, absurd. But maybe someone can leap to the defence of Mr Skrabl? His website says "The uniqueness of the Skrabl sound requires some explanation. On very many occasions, clients, organ technicians and organ advisers have been amazed by the extraordinarily different and magical sounds which have been created by Anton Skrabl in his recent organs. One adviser recently described them as 'Flutes to die for with an amazing translucence and Principals which seem alive and a refreshing change from anything I have so far encountered'." So, who is right? Greetings Bazuin

"I got this as I was unhappy with the Peters Buxtehude - what do people think? Thanks.( Other composers there too of course)" Save up and buy Broude/Belotti. Its the only Buxtehude text that doesn't limit you to subjective editorial decisions about use of pedal etc, and provides you all the information for the sources to help you make good decisions about the text. The free works have been available for a decade now I think, does anyone know if the chorale-based works are finally ready? Greetings Bazuin

I always think its interesting to discover who plays as well in concert as on their recordings. Especially when the recordings are really awesome. So from my experience, the best organists around today are: Wolfgang Zerer, (for all things pre-1750, although he can also play later repertoire wonderfully). Probably the best German organist of his generation. I've heard him 3 times, every time it was incredible. Ben van Oosten (for all things French post 1850). His recordings are sublime and his recitals never disappoint. Andrea Marcon David Briggs (for Cochereau re-constructions, orchestral transcriptions and improvisations) Pier Damiano Peretti Louis Robilliard (Franck, Widor etc) Olivier Latry (although only for contemporary music and improvisation) Eduardo Bellotti (Frescobaldi, improvisation) although I'm slightly biased, my former prof, Pieter van Dijk (Sweelinck, Bach, in Germany he's much admire for his Reger playing, but I can't really judge...) He never plays a bad recital. Of the people I haven't heard live, I would be curious to hear Peter Sykes (Boston) Heinrich Walther (Germany) and Loic Mallié, as their recordings are very special. Now I'm going back to the organ, doubtless I will think of 3 more on the way to church... Greetings Bazuin

I visited this organ last year, it is really wonderful. I think it's great that it has been restored without the addition of gadgets and gizmos, the original console furniture remains as Willis left it. The only exception is the swell box which was converted to a balanced pedal relatively early on in the organ's life. The Vox Humana swell box (!) retains the original trigger pedal. Is this the most decadent parish church organ in the UK, (11 reeds, enormous variety of wind pressures up to 25'', 4 manuals, and all this in the church which seats 800 at most?) A fantastic organ. Greetings Bazuin

OK, here, quickly the Asma/Zwart tradition story (Dutch contributers might want to fill in the gaps or contradict my opinions). Feike Asma studied with Jan Zwart which his why he played a lot of his music. The common opinion is that Asma continued the Zwart tradition, however the best organist of the current generation of the Zwart family, (actually the only one who can really play) says that Asma broke off the tradition, and I have to say when he plays Jan Zwart's music it sounds completely different, (I almost get it!). Whatever we might think about questions of taste in Zwart's music, he was an important influence in the revival of congregation singing in the early 20th century, and he wrote the first biography of Sweelinck. "Asma is only one of many Dutch composers writing in this genre over the last century or so." Asma was not by any stretch of the imagination a composer, he was an arranger of tunes. He even admitted so himself. (The much used title "koraalbewerking" means literally "chorale arrangement"). The tunes in question are primarily from the Geneva Psalter, and from hymn books used in Calvinist families at home, (notably the Johannes de Heere collection). The point about this music is that it is meant to inspire emotional feelings of Calvinist longing in the faithful. It is important to point out that a huge number of Protestants (millions) in The Netherlands continue to live a very closed lifestyle, with no television, cinema, concert attendance etc permitted. They have their own newspaper and their own political parties. Their church services do not permit choirs, and only the Geneva Psalter may be sung. This, (and perhaps some slightly less orthadox protestants) are the 'target audience' of Asma's music and that of his disciples. "Few of them have been heard of outside of The Netherlands, excepting perhaps Jan Zwart," Exactly, The Netherlands is the only really calvinist country in Europe. "A lot has happened between Sweelinck and Andriessen, and is still going on!" If you are interested to look at some serious recent Dutch music I would recommend: Ad Wammes: Miroir (already very popular in the UK, I'm also playing it this year) Thijs Kramer: Organ Symphony 'Media Vita" (unknown even in Holland but it is published and it is really wonderful) Anthon van der Horst: Christ Lag in Todesbanden (partita on the first section of BWV 4) Anything by Bert Matter (Latry plays the Von Gott will ich nicht lassen Fantasia, its great if you like 'cool' minimalism). In Holland the pieces by Ton de Leeuw (Sweelinck Variations expecially) and Daan Manneke (Organum for example) are quite popular but I'm not so fond of them. Extending the minimalist thing there's also Jan Welmers, impressive big pieces, (Laudate Dominum is maybe the best), again an acquired taste. Greetings Bazuin

"It wasn't me!" Apologies to MM and to cynic. "As for eccentricity, it didn't come any better than Florence Foster Jenkins, Victor Borge or P D Q Bach, and we all enjoy them just a little bit.....surely?" more than a little bit but I never thought of any of them as championing classical music. Did I miss the point? To get the PDQ humour you need quite a bit of musical knowledge in advance... "Actually, Virgil Fox raised the bar, and demonstrated just what was possible in terms of technique, and it is that to which many young American organists aspire to-day." I'm not sure. Virgil Fox played fast but not very accurately, (listen to the Riverside Ad Nos recording as one of many examples). Carlo Curley is actually a better organist I think, (though I can only listen to him playing Wagner transcriptions...) "They're such musical snobs in Holland, and even worse than their British counterparts. They didn't even like Pete van Egmont, just because he got gigs at the Albert Hall and could play a theatre organ, when they couldn't." Its important to distinguish between Piet van Egmond and Feike Asma. The latter didn't even have a formal training and it shows: Van Egmond, at least now, is admired by even the most conservative Dutch organists, (at least the ones I know!). There is a beautiful biography about him by Gerco Schaap (I think he contributes here sometimes?) unfortunately only in Dutch. He was a much more talented and versatile musician than Asma. "I've never heard of him, but the same comments would apply to Barbara Denerlein, and our own board-member Simon Nieminsky was heard on Radio 2's "Organist Entertains" this week, playing a jazz inspired piece for organ on the new RC organ in Edinburgh. He spoke awfully well about the new organ and the music." Great, but Dennerlein is a jazz musician who happens to play the organ (primarily Hammonds, sometimes 'normal' organs), while Simon Nieminski is a fantastic organist who happened to play a jazz piece. Idenstam is a prize-winning French Conservatory educated organist who is also a professional rock and folk musician. Listen to his stuff, I think it would be hugely popular in the UK. Greetings Bazuin

This is a really interesting thread with a lot of insightful comments made. For me one of the problems with the organ is that it is almost never subject to the same level of PR as other musical instruments. This is partly the fault of the concert promoter and partly the fault of the organist him/herself. Hans Fidom, one of the artistic leaders of the Orgelpark in Amsterdam, (which presents the organ in every imaginable artistic combination) told me that he was shocked how badly organists' PR material is compared to the jazz musicians, sax quartets, dance groups, even mainstream 'classical' musicians. The question of whether the church is a 'good' or a 'bad' element in promoting the organ's future is a vexed one. I find it interesting that THE growing audience for the organ is surely in Japan, (where an organ recital in a concert hall is as popular as a piano recital) where the 'stigma' of the organ as a church instrument is less. This implies no judgement at all from my side, (I grew up in the church and work, as do most organists, for it still). The Netherlands could learn a lot from the UK about friendly presentation of concerts in the sense of the sandwich lunch at Chelmsford mentioned by MM, that kind of 'joining-the-dots' thinking is sadly lacking here. On the other hand I prefer the simple fact of the organist being invisible here, especially when both organ and music are wonderful. In the Nieuwe Kerk in Amsterdam it is even impossible for the organist to acknowledge the applause, the instrument and the music become, by default, more important. I accept that this doesn't work everywhere. In NL there are also a growing number of good projects for primary school children, for example those run by Frank van Wijk in Alkmaar, using the organs there. Another thought, perhaps controversial. Hans Davidsson once commented to me that he thought the reason for the decline in interest in the organ was primarily because the standard of playing on the organ, in general, was much lower than public performances on other instruments. To a certain extent I think he has a point. I would extend the point and say that in too many places there are performances on poor instruments. I agree with 'Justadad''s point about Virgil Fox, that kind of eccentric re-interpretation of the literature only won fans for himself, not for the organ in general. In Holland we had Feike Asma, (who won lots of fans to the organ who now only go to concerts by people who try to play like he did. One Asma was more than enough). On the other hand I am hugely impressed with the artistry of the Swedish organist Gunnar Idenstam. He studied with Marie-Claire Alain in France and won the improvisation competition in Chartres. Now he works primarily in the fields of folk and rock music. He has composed (and recorded for BIS on the big Klais in Iceland) a series of virtuosic pieces called "Cathedral Music" which combine a variety of stylistic elements of the French Symphonic repertoire with a lot of very specific rock influences. The idea sounds tacky, but Idemstam does it SO well, (balance, form, everything just works!). He has made another CD of improvisations with a folk musician which is also brilliant. When he performs with the folk musicians he sells out churches in Sweden, (I have a colleague who says they get treated like rock stars). Surely when such things are done really really well, this is a way to 'popularise' the organ legitimately. www.idenstam.org (you can listen to bits of his recordings under 'music', including excerpts from Cathedral Music and Latar, the folk music CD). Happy listening! MM wrote: "At the same time, the best organists (still popular to a certain extent), tried to purify organ-playing; placing a special emphasis on quality repertoire and “cleaner” sounding instruments." Yes, but this was simply an unavoidable part of a much wider musical and artistic tendency. Greetings Bazuin

"Which Glasgow Cathedral would that be Episcopal or CofS? The RC Cath has a Willis II seem to remember, much nicer." I heard S.V.C-C play in the Episcopal Cathedral in 2002. It was fabulous, but the organ is truly dreadful. Until the 1960s it was a probably very fine 1909 Harrison, HNB ruined it in the 1960s and managed to ruin it some more in the early 90s (at which time they removed the Great 16'!) The church is quite beautiful since its restoration. The C of S Cathedral was a Father Willis which was again probably wonderful but subsequent rebuilds by Willis III (who rebuilt almost all of his grandfather's larger organs in the city to their detriment), Walker and Harrisons (1996) have left it rather scarred. The Catholic Cathedral has the Willis II mentioned by Phillip Wells, which was second hand I think, installed in the 1980s, and, as far as I know now rather neglected. Shame, its easily the best instrument of the three. Greetings Bazuin

Pierre Thanks, fantastic! Bazuin

"This exists since some years." Really? Can you tell us where? The system I mentioned assumes 2 or more wedge bellows opening and closing in sequence. Is the system you mentioned the same? Bazuin

"This is a fine example of innovation, that I have been bleating on about in another thread." I hardly dare engage John Carter on this issue after his apparent disgust at my contributions during the week, but to suggest that such a device is indicative of the innovation that will save the organ culture reminded me of a spoof article by Stephen Bicknell mocking the writing of the former editor of 'The Organ' and the (perceived) inadequacy thereof. He writes a wonderful assessment of a (fictitious) organ by the (equally fictitious) Agnus Smethwick and comments that: "There are several facilities offered to the organist not normally found on even the most complete schemes, including......Smethwick's marvellous patent 'Piston Quiz' device, which, at only one touch, immediately returns all the combinations across the organ back to those left by the previous player. The addition of a reverser to this device would of course be a further advantage." I offer it here with tongue strictly in cheek (as did Stephen Bicknell) and imply no judgement whatever of the usefulness or otherwise of Worcester's new console furniture. Speaking of innovation, I know of an excellent organ builder (who shall remain nameless) who is developing a device which makes bellows behave as if they are being manually operated, while connected to an electric blower. I've actually seen the prototype! Now, that's my kind of innovation, although I suspect John Carter might not agree Greetings from the tropical Netherlands Bazuin

"Harpsichords and viols are and will remain a minority interest." This is the minority opinion of an embattled modernist! For a really excellent and thought provoking discussion of the early-music movement, and its relevance in 21st century musical culture, can I suggest you read the following book: "The End of Early Music, A Period Performer's History of Music for the Twenty First Century" Bruce Haynes Oxford University Press This is a wonderful book, with much of importance for organists if only because what happens in our world never happens in the isolation we sometimes imagine. "If the organ is to survive it has to become more affordable and more playable..." Sorry, this argument simply doesn't stack up. Look at the organ builders on both sides of the Atlantic who have gone to the wall in the last decade or so, Schlicker, Moller, HNB, Rushworths. If they have one thing in common it is perhaps that they tried to do exactly what John Carter suggests, only to find that the market didn't exist, (eaten by the toaster-brigade!). On the other hand, the best organ builders, many of whom build historic copies or even wonderful 'modern' organs which have grown from the style-copy movement, have long waiting lists. If you want an organ from Paul Fritts now you would have to wait years! To my list of organ builders in the Netherlands I should have added Mr Feenstra who runs a successful business exclusively buying, restoring and installing unwanted (mostly 19th century) ENGLISH organs. http://www.frfeenstra.nl/ Within walking distance of my front door I have an 1875 Father Willis and an organ from around the same time by August Gern! Many of these organs were replaced in their original homes by 'electronicums'. Bad stewardship and the supposed innovation advocated by John Carter are in fact real dangers to the organ culture! Greetings Bazuin

"This reminds me of the time that Rolls-Royce insisted on retaining drum brakes and cross-ply tyres - because they knew best! Why do you strive to stifle innovation in the apparent belief that what is historically authentic must be better?" I'm really sorry, but I've explained why already. To be able to judge an organ's merits you must be able to do so independently of its style. Innovation has nothing whatsoever to do with quality. The chronocentric view of instrument making is a thing of the past! Pierre's commentary is spot-on I think. Bazuin

"(What actually fascinates me, since the fall of the iron-curtain, is just how close the Blackburn concept was to the sort of instruments being built in the Czech Repiblic by Rieger-Kloss; but that is another story!)" Gosh, is this supposed to be a compliment? "So to return to the question of organs in the Netherlands (and also elsewhere, no doubt), why should anyone seek to create "new" historical replicas?" I think the most exciting reason is the one I stated this afternoon, which no-one has chosen to discuss further. "It seems to me, that there is an essential difference here, which if anything, inhibits progress in the Netherlands organ scene, and which has led to a certain stagnation." This is simply not true. It is simply that in the liturgical context organs here don't have to do very much compared to in the UK, with the result that the pressure from the organist who 'has' to have this and that and the sequencer doesn't happen here. Don't forget that the Netherlands dabbled with the big eclectic thing in the early 70s, have you seen that Marcussen in Rotterdam? It has never found many friends, unsurprisingly. Marcussen were already past their best even then. A quick glance and simplified breakdown at the recent activities of some firms in NL shows a wider range of knowledge, expertise and quality (above all) than almost anywhere else in Europe: i) Flentrop, the finest restoration portfolio on earth, everything from Van Covelens 1511 in Alkmaar, to the Walcker in Riga and the Cavaillé-Coll in Haarlem. Modern organs with suspended action, sometimes with swell boxes, even these days with sequencers if you ask nicely. The basic premise of their work remains unchanged. In Fritz Elshout they have one of the best reed voicers around. ii) Verschueren, we touched on them already, fascinating house style borrowing from König (very eclectic!), also essayed Cavaillé-Coll, Silbermann etc iii) Reil, interesting house style borrowing from many things, especially since the Zutphen restoration, Westphalian influences. New, important reconstruction as we now know in Ansbach (Wiegleb 1739) iv) Van Eeken, exclusively style copies combining Müller and Schnitger elements. You might not like the idea but the quality is so high is doesn't need to be justified. One of the greatest 3 or 4 builders in the world, (with an organ going to Ireland soon!) The Netherlands even has smaller builders doing interesting things who aren't known (far) outside the borders, briefly I should mention: i) Adema, building French-inspired romantic organs, (much as they always have). ii) Elbertse, fantastic ability to restore and reconstruct pneumatic action organs. iii) Steendam, developing a little bit the Witte tradition. Organs intended to accompany massed congregational singing, with low mixtures, 6' Quints, swell boxes. Very interesting idea! Is this really stagnation? Or did I misunderstand MM? And where do the thoughts of Larry Phelps fit here? Was Phelps ever seriously interested in historic organ building? Aren't his views and (biases!!) however interesting, rather typical for his time? Greetings Bazuin

"Try this one also - you can download a podcast (via the music section on the left) of music by a whole gamut of composers. A very significant instrument!" I mentioned it last week in another thread. Its siginificance is enormous, its quality is breathtaking. If you haven't heard it, look out for the Naxos Buxtehude CDs (volumes 5,6,7 I think) and the Widor Organ Favourites. And listen to the Messiaen on the podcast mentioned above. I believe these are the cutting-edge instruments in today's organ building world. In response to cynic's comment. "Some firms set out to copy, some set out to create something after their own ideas. Both methods can and do produce good instruments but I know which I would rather try." I would suggest that virtually every one of the really great organ builders today builds (not necessarily exclusively) or has built style copies, often, significantly, as a process towards creating something "after their own ideas". Greetings Bazuin

'Heva' is correct to state that Verschueren's style copies have been criticised, it is difficult for the British audience to imagine the difference in organ criticism (especially in the organ press) between the two countries. Whether Verschueren have been successful in creating a real new Silbermann organ in Dordrecht or not, the quality of their organs in the wider context is very high, better in fact than all bar 3 or 4 builders in the English or German speaking European countries. It seems to me important to say something about the role of style-copies in modern organ building, because it is by-and-large misunderstood. I will never forget being in Göteborg in 2000 for the opening of the North German organ with hundreds of organists from every conceivable place except the UK, (there were 3 Brits as I recall, all students). The point about what happened in Göteborg with Verschueren's organ, the North German organ project etc wasn't the fact of the organs themselves, but rather the re-learning of the techniques (not just the results) which went into making them. The research has since been applied elsewhere in restoration and new organ projects in various places. The nature of 20th century organ building is completely different to pre-20th century organ building precisely because industrialisation and modernisation meant that many skills were lost, as was the concept of the apprentice, as Schnitger's apprentices would have understood the idea. For those who say that style-copying is a dead end because of its lack of creative artistry, look at the oeuvre of Paul Fritts. He did nothing other than style-copying for 20 years, now he builds organs for large Catholic Cathedrals in the US where they have to do everything. These, and the organs of Martin Pasi, are arguably the finest statements in modern organ building in the world, quite literally the 'state of the art'. How do you fancy one of these? http://www.frittsorgan.com/opus025.htm If anyone is interested in an excellent detailed description of this organ by David Dahl I will forward the link. Greetings Bazuin

"We were shown a fascinating and beautifully produced 45-minute DVD on the restoration of the Ansbach organ, in which no effort (and no expense!) was spared in achieving a painstaking historical reinstatement of the Wiegleb original, even down to recreating the massive bellows stack situated in the roof space above the organ. So impressed were we by the video that we urged Hans Reil to make it commercially available." I'm 99% sure that copies can be obtained from Reil, the English language version should also be ready by now I think. They were selling copies of the Dutch version at their open day last year. Well worth having! "We then went on to visit an outstanding modern example of the firm's work in the Bovenkerk in Kampen, a most exciting musical instrument. The workmanship is superb and the organ is beautiful both to look at and to play. " I understand why JS likes that organ, although I have some reservations about the concept, which, although it takes its inspiration from Bader and the Westphalian organ style of the 17th and early 18th centuries, covers rather the same repertoire areas as the big 1743 Hinsz upstairs. The Hinsz is one the great monuments of 18th century Northern European organ building! The acoustic in that church is incredible incidentally, around 8 audible seconds of decay time. Makes both organs enormous fun to play. "It would be nice to think this firm could secure a contract in this country one day." Occasionally I hear rumbles of an organ going from these shores to those, (not yet from Reil) but unfortunately awareness of 'continental' organ building developments, outside the middle-of-the-road builders from the German speaking regions, is at an all-time low in the UK. (Aubertin aside!) Greetings Bazuin

"One of the advantages of learning from Radulescu was that you were always in the company of extremely talented students. Yes, Bine is a wonderful organist, but Radulescu attracted a large number of other students that really are extraordinary organists. When I think of the likes of Brett Leighton, Thomas Daniel Schlee, Guido Meyer, Wolfgang Zerer, Juergen Essl, Michael Kitzinger and so many others, I am reluctant to try ranking them." I take it from your comment that you are also an ex-Radulescu student, lucky you! I should also like to mention Pier Damiano Peretti, who has inherited something of the genius I think. Interesting that Radulescu the pedagogue is better known than Radulescu the organist, maybe Fiffaro can offer some first-hand insights into what makes him so extraordinary? Thanks in advance greetings Bazuin

What a lot of Buxtehude recordings were released last year! But, as this thread began with Saorgin, so will I. Saorgin's recording is a child of its time and should be seen as such. Ideas about registration, rhetoric, tempi, and of course editions have moved on. The organ choice is also a bit hit and miss I think. On the one hand Zwolle and Alkmaar are right on the mark, and its interesting to hear Alkmaar before the 1986 restoration. Saorgin uses the Sesquialteras as solo stops for example - this is now impossible as they have been put back to their original 16' pitch. Arlesheim on the other hand seems a curious choice for Buxtehude. If you only have one Buxtehude cycle in your collection, than I think it should still be that of Harald Vogel. This not only because Vogel is one of the greatest organ artists in the world, but also because he, in a sense, invented the present performance practice climate around Buxtehude's music, at least in as far as registration and rhetoric are concerned. Anyone who has studied with Harald Vogel, or seen him teach a masterclass will understand what I mean. The organs on those discs are wonderful of course. Of the more recent recordings, I admire Bine Bryndorf especially for the fact that her playing reflects very closely the notation in the newest editions; her execution of the proportio is exemplary. Personally I find her tempi rather quick and her accellerandi at the beginning of praeludia (at least in the early volumes) rather bothersome, its a Vogel mannerism! Bine Bryndorf is a wonderful organist, one of the best Radulescu students. She plays good instruments on her Buxtehude discs (including Hamburg St Jacobi). I also have complete Spang-Hansen and the new Koopman discs. Spang-Hansen is fast and funky, and quite fun, but too eccentric to be your only choice. Likewise Koopman, on whose recording the proportio is notable only by its absence. Koopman's violent touch also manages to make those wonderful organs some quite unpleasant, especially in the dry acoustics. The other newish discs I've enjoyed very much are the Julia Brown releases on Naxos. Of these the last 3 discs, recorded on the divine Martin Pasi organ at Omaha, Nebraska stand out. Brown plays with a heightened sense of 'affect' and rhetoric, and is much less bright and breezy than Spang-Hansen, Koopman, or even Bryndorf. I adore her playing! Those discs are worth buying just for the organ though, a 2003 50-something stop instrument, with a big romantic swell, however, 28 stops on Great, Positive and Pedal can be played in 1/4 comma meantone! (Those stops have 20 pipes per octave!). When you've listened to the Buxtehude discs, go out and buy the 'Widor organ favorites' release (also Naxos) played on the same organ by Robert Delcamp. You won't believe you're listening to the same organ. Martin Pasi is one of the world's few truly great organ builders. I have to say, the idea of Christopher Herrick recording a complete Buxtehude cycle doesn't excite me, his undoubted talents surely lie elsewhere. Greetings Bazuin

Hello everyone I haven't yet been to play the new Dordrecht organ, although I have played the big Kam organ on the west wall. The restoration of the Kam organ (Reil) and the new organ (Verschueren) are/were paid for by completely different foundations incidentally. The tag of 'Bach organ' was simply a useful tool in sourcing funding I think. Still, it is the only organ of its kind in The Netherlands, even if the 'Mariakoor' in the Grote Kerk in Dordrecht is a far-from-typical acoustical situation for a Thuringian style organ.... "has anybody counted the number of 'Bach-organs' built over the last 50 years?" Another new member of the Bach organ family (!) is the Reil reconstruction of the 1739 Wiegleb organ in Ansbach. If I remember correctly all bar around 400 pipes are new. The organ is large, more than 40 stops. According to sources who have been and played it, Reil have succeeded spectacularly in what was clearly a challenging assignment. There is no surviving Wiegleb of any size, and the style is very specific, many string stops for instance, (even a 2' 'Sallicinettgen!) and a very primitive swell box housing a stop entitled 'Echo' which is in fact a 5 rank cornet. This organ has received no coverage whatever in the English language organ press I'm aware of, perhaps interesting therefore to look once at the website of Reil: http://www.reil.nl/doc/orgeloverzicht/2007-ansbach.html On disc it sounds wonderful..... This seems also a good moment to point out the extraordinary flexibility of Verschueren. Their next big organ will be the 3 manual Cavaillé-Coll copy for the Orgelpark in Amsterdam. This is already their second big essay in this style, following the 3/40 Cavaillé-Coll for Gothenburg University, which I have played. It is very fine, one of the first results of the (necessarily expensive) multi-disciplinary approach to research-based organ building in Gothenburg. At the same time a large new organ in their developing 'house style' (which borrows heavily from König) is being built for the Abbey of Wilten (Austria). There are VERY few organ builders in the world who can so impressively produce such widely differing style copies and develop a house style with its roots in yet another sound world.... A brief comment about the clavichord. I was fortunate to study the clavichord as a 'bijvak' (secondary subject) in Amsterdam. The greatest benefit to the modern organist from the pedal clavichord seems to me to be the 'window' it affords you to your own technique. This is especially beneficial for learning to play on historic organs where the relationship between posture and sound production is so important. The (pedal) clavichord is merciless in showing up your shortcomings! "less surprising for the "neobarrokies"(1). (1) Zegt men dat in beschaafd nederlands?" ben ik nog nooit tegen gekomen, maar mijn Nederlands is niet zo beschaafd...... Greetings Bazuin

"And my point was that one cannot make valid judgements about any instrument solely from a recording." Absolutely. My point was simply about placing the instrument in a broader historical context. "I know of little evidence that the quality of their workmanship had deteriorated in the time which elapsed between the building of the organ in the RFH and that of Coventry Cathedral." I don't believe it had either. My point was simply that the technical standard of organ organ building in the UK was so low at the time that Downes is bound to have been impressed by anyone who could technically construct an organ to a high standard. "I doubt this. Whilst it is true that Basil Spence made a few pencil sketches of the way he wanted the organ to appear, it is at least as likely that H&H were responsible for much of the detail and the placing of individual ranks and bass pipes." This may indeed be true. "This ignores the entirely different (and in some aspects unique) way in which the organ was (and is) used during Anglican services (for example). It is also (or at least was at the time) closely linked to the need to be able to accompany choirs in often complex repertoire." The dichotomy of this and the ideals of the organ reform was the starting point of this discussion! Of course you're right, finding the balance between the organ as a work of art in itself and the uses to which it has to be put is difficult. I am well aware of everything you write about regarding Christchurch Priory as I have a colleague who lives close by who plays recitals there sometimes. "Which is another incorrect assumption. I have in fact played....etc" I'm sorry for my assumption, I hope your busy Sunday went well and wasn't frustrated by my outrageous opinions. greetings Bazuin