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Mander Organs


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About pcnd5584

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  1. I have discs of both Glenn Gould and Sir Andrăs Schiff playing Bach's Forty-Eight Preludes and Fugues on pianos. Whilst I find it difficult to listen to Gould these days (not least because his continuous grunting and groaning are irritating), Schiff's performances are wonderful. (I still have the Promenade Concert which Vox Humana mentioned saved on a HDD.) For my money, I'm very happy to hear them played on a modern piano. I have a very limited tolerance for the sound of a harpsichord. I find it too thin and metallic. It is (clearly) also rather limited in dynamic variation. I suspect also that I am more tolerant of a little rubato here and there. I don't like anything too wayward, but the relentless progress of a metronomic performance palls for me after a short time. True, I haven't heard Preston's Bach recordings, so I cannot say; however, I do like music to breathe.
  2. There are indeed. However, I suspect that most of these work better than many English examples, because of the design and voicing of the individual ranks. And generally because these instruments are often situated in buildings with a more favourable acoustic ambience.
  3. It is indeed mine, AJJ. The Gamba is on the Choir. With a Choir to Great, this can be achieved; a desire to keep to the smallest practicable stop-list was the aim, here. The Swell Fifteenth is in the Mixture. It occurred to me how little I used the Swell Fifteenth on the Minster Organ, when accompanying the choir. In fact, on my 'accompanimental' channel, the Hautbois is set to draw before the Fifteenth. The Pedal upper-work - again, the smallest practical size. Truro is only one stop larger (and that's another 8ft. open metal stop). The Sesquialtera and Cornet: once again space precludes these registers. In any case, it was drawn-up with a Romantic/Victorian bias, so these wouldn't necessarily feature.
  4. My apologies, also - I have only just now seen your reply. This is certainly interesting. Presumably Raymond Sunderland made at least two recordings.
  5. (Spreadsheet copied as .rtf, and posted above.) Having spent twenty-six years accompanying the Minster Choir (in Wimborne), with similar G.O. and Swell flues, I would state that these are insufficient for either variety or in order to avoid aural boredom. If the proposed instrument is not intended to accompany a good choir, with a fairly wide repertoire, then it is probably okay. However, again from experience, a single Chimney Flute won't be enough adequately to support that much upper-work.
  6. Spreadsheet - odd; I'm not sure why. It opens fine for me - but then, the original is saved on my computer, so it might just be reverting to that. Slender foundations - I was thinking particularly of the Choir Organ, which has a fair amount of upper-work, but only a single 8ft. Chimney Flute with which to support it. This was (and is) a serious failing of the Minster organ. I should want at least two other 8ft. ranks on the Choir Organ. In addition, on the Bombarde Organ, it would be helpful to specify the type of flutes available. Are they open, stopped, chimney, harmonic....? The Cornet is complete, so it doesn't require an 8ft. stopped Flute to be drawn at the same time.
  7. It does indeed. And, even listening through average quality speakers, the reverberation appears to be somewhat livelier than that at Saint Paul's Cathedral.
  8. I think that the Pedal and Swell organs are too small in proportion. In addition, the foundation work is somewhat slender. My preference is for at least one chorus reed on the G.O. The problem with a separate Bombarde Organ is, while it may increase flexibility on the one hand, on the other it necessitates adding a coupler every time that the reeds are required on the G.O. In French symphonic music, this would quickly become wearisome. I note that this scheme is intended for a large parish church; I think that it may be a little small for that - depending on what it will be expected to do. If the musical duties involve choral accompaniment of roughly 'cathedral-type' repertoire, I should wish for a greater spread of 8ft. tone. And a somewhat larger Swell Organ, with a chorus mixture and a conventional reed chorus. I did once design a small cathedral organ, which I tried to ensure that not only was there a good variety of foundation tone, but that there was adequate chorus-work, and that it would work convincingly as a tonal entity: Small cathedral organ 9-04-10 (2).xls
  9. I believe that a previous poster recommended removing the Dulciana in favour of a 4ft. flute of some description (a Harmonic Flute might be a good idea). I would certainly favour that over losing either the Stopped Diapason or the Claribel Flute. I must admit that I have never found a Dulciana to be the slightest use on any organ. I realise that this is a fairly small instrument, and there would be no very quiet register (assuming that the Dulciana is such a rank); however, to be able to swap between two different 8ft. flutes can be very useful. Years ago, a local organ builder rebuilt a smallish two-clavier instrument in a small parish church a few miles from where I sit at the moment. Among other things, he removed the Stopped Diapason on the G.O., in order to put in a Fifteenth. This left a Dulciana and a robust Open Diapason as the only 8ft. registers. Playing this instrument is now rather frustrating. The Dulciana is colourless and far too small to be of any accompanimental use. And the loss of the Stopped Diapason is most keenly felt.
  10. I have a copy of this recording. The playing is stunning - as is the instrument.This is my absolute favourite Reger Fugue. I have played it myself a number of times, either for recitals or as the voluntary after a carol service. The last two pages are really effective, and the final system, with the full harmonisation of the final line of the chorale is absolutely breathtaking.
  11. The ARCM diploma has been retired....? That's a shame. The hood is quite nice, really.
  12. That's a shame - sorry to read this; but thank you for letting us know, Vox.
  13. Apparently, HWIII wasn't entirely enamoured of his own work in this instance, either. However, this was more because of the dreadful acoustic ambiance of this hall, which is utterly 'dead', and devoid of any resonance, or even 'bloom' whatsoever.
  14. I believe that the identity behind 'Deadsheepstew' was the late David Coram, who was certainly greatly interested in various types of unequal temperament tuning. (I have no idea why the passage which I quoted has appeared twice. Neither am I able to remove the duplicate.)
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