pcnd5584

I also have a copy of this recording - and another by some American organist (Dr. Lenough Anderson, I believe) who, amongst other works recorded the slowest version of the 'little' E minor Prelude and Fugue, by Bach (BWV 533) which I ever hope to hear - Vierne included. I much prefer this one: http://www.youtube.com/watch?v=M1NF6X9SVTw. The organ at Weingarten is stunning - and so is the acoustic ambiance. In fact, Rochesson voiced rather more than just the Pedal reeds.* I have a list somewhere, which I shall try to locate tomorrow. For the record, there is some documentary evidence (including old back-issues of The Organ, dating well before 1950), which suggest that Rochesson was not exactly highly regarded as a voicer by his peers in France. * I believe that it was even intended to include the proposed Solo strings - that is, before they were consigned to history.

Although, if one reads the collected letters of Ernest M. Skinner, Henry Willis III, G. Donald Harrison and a number of other well-known and influential figures in the organ world in the first half of the twentieth century, it becomes readily apparent that G. Donald Harrison had little reciprocal respect for the ideas of Ralph Downes. * It was Buckfast Abbey and, whilst Donald Harrison did not come over to voice stops, Ralph Downes did indeed, in collaboration with J.W. Walker (Walter Goodey and a young Dennis Thurlow) build a most interesting instrument. * The American Classic Organ. Charles Callahan. OHS. (1990). http://www.amazon.co.uk/The-American-Classic-Organ-History/dp/0913499056

Probabbly. In fact (as you are no doubt aware), he did - and with H&H in 1964). True, this was largely limited to the tonal re-balancing of all of the compound stops and most of the reeds . However, it did include a couple of new pipes (and consequent re-scaling) to two Pedal foundation ranks (the 32ft. Principal* and the Major Bass † - neither of which had ever spoken properly in the dry acoustic). In addition, the 32ft. reed was revoiced - with new shallots and tongues (from Bertounèche, the firm which had supplied Cavaillé-Coll), which were unobtainable at the time of the original installation of the instrument. * * E, in the 32ft. octave. † C, in the 16ft. octave. * p. 184; The Harrison Story. Laurence Elvin. Elvin, Lincoln: 1974 and 1977.

A further suggestion: Do not leave pencils on the sides of a console (or a piano) with the sharpened ends pointing towards you. Making a swift upwards movement with one's hand, only to discover that a pencil is now partially embedded in the webbing part between thumb and fore-finger, and that blood is spurting out all over the floor is, let me assure you, most disconcerting. Even more so is the complete inability to swear, kick something, or shout loudly and incomprehensibly - simply because sitting beside the instrument there is a pupil looking at the blood with undisguised fascination, who says innocently 'Oooh, sir - have you hurt yourself? (Yes, I %#ï¿©§$ing have.)

Reply by PM - in order to avoid causing offence to a colleague.

Absolutely. It sounds a most odd stipulation. It reminds me of my copy of A. Herbert Brewer's Marche Heroïque, on which is a small note admonishing me that 'The Public Performance of any parodied version of this composition is strictly prohibited.' (Not that I should wish to - I actually quite like the piece and regard it as a good example of its genre.)

In fact, this is at least the second time that alterations have been made to the chorus-work of this instrument - the first being with the collusion of Downes himself.

He was. Apparently, an early test in the hall (which had no seating at that time), involving a student orchestra from the Guildhall School of Music, was ...'dire. Tympani sounded like biscuit-tins.' Apparently he remembered thinking something to the effect of 'Thank God the organ was not on trial that day.'

Absolutely - and, why not? (to mis-quote Barry Norman - apparently).

This has happened on occasion. Sometimes lightning does strike twice (in the same place). On the other hand - why would one actually do that during a sermon anyway? It is almost asking for trouble. In the case of the Guildford organ, this must have been rather more recent than thirty-five years ago - the Unison Off couplers on this organ have only been re-wired as I described above in the last ten years. Prior to this, whilst inadvisable, such a move would have been relatively safe.

This is largely the reason - although Downes was reacting to a specific protest which had suggested that the RFH organ as planned would not be able to produce sufficient tone (and 'body', as it was then expected and understood), in order to bolster an orchestra during (for example) the Enigma Variations. At that time, much of the organ was already in the process of construction - including the main soundboards. The only soundboards which had yet to be market up, cut and constructed were those of the proposed Solo Organ. Therefore, in order to avoid considerable further delay (and consequent increase in cost), the only viable route was to scrap the (vaguely) Romantic Solo Organ and substitute yet another principal chorus. Downes went on to state that this had proved to be entirely successful in practice, expressing surprise at Cecil Clutton who stated that he felt five complete clavier choruses to be ' "wasteful in a concert instrument", whereas I [Downes], as a professional concert organist, know very well how this final modification clinched the organ's success in practice.' * However, it could also be said that intelligent design of the other departments should have precluded the 'need' for yet another chorus - particularly at the expense of any Romantic voices whatsoever. (The Swell 'strings' are nothing of the sort, for example.) Whilst it must be borne in mind that the RFH organ was highly experimental - and not intended to be a progenitor of any 'organ movement', as such, there are nevertheless a number of flaws in the design, scaling and voicing of the organ - partly the fault of Hope-Bagenall, the acoustcian, it must be admitted. * p. 133, Baroque Tricks: Positif Press, Oxford. 1983.

Many instruments are wired-up so that this stop does nothing unless either the Sub Octave or Octave coupler is also drawn.

Although at less than £11,000 for an average of twenty-seven hours each week, it would leave little time to teach*, in order to gain a living wage. Even with accommodation provided, this seems to be a rather long working week for a 'number three' post, in view of the level of remuneration. * Whilst, according to the time-table of daily rehearsals, there appears to be the greater proportion of each day free; in reality, on reading the details of what is required (for example administrative work, attending meetings, assisting 'with the smooth running of the department'), the successful candidate could easily find that the day is largely taken up with cathedral duties.

Recordings show that he was also a superb improvisor. In fact, I should far rather listen to him than Dupré, who, whilst possessed of a fabulous technique and intellect always sounded rather dull and dry.

On the other hand, it has been possible to hear any number of concerts involving other instruments (than the organ) and choirs, over the last several years, whilst this iconic instrument languished in storage. I should have preferred the opening concert to have featured the organ - solely. Surely this famous instrument needs no help from the brass section of an orchestra? I confess that I find this type of programme planning puzzling in the extreme. Why do those who plan these events appear to think that either the organ needs 'help' - or that concert-goers will be less likely to attend if there are no other instruments taking part? * Whilst I am pleased to learn of the forthcoming series of organ concerts, I wonder if there is any possibility of re-instating the former Wednesdays at 5.55 series. I realise that many peoples' work habits and working hours have changed over the last twenty years; but it would beb good to see some kind of regular (and permanent) recital series re-established at the RFH. * As far as I can recall, the short recital series which was held prior to the dismantling of the RFH organ was well-attended.

Is it also still correct that there are only two posts which attract a reasonable (full-time?) salary in Paris - that of Titulaire de l'Orgue-du-chœur, Nôtre-Dame (Cathédrale) and Organiste Titulaire des grandes orgues, Nôtre-Dame d'Auteuil?

Well, yes - but there are no regular Sunday services in Birmingham Town Hall. The case cited above is somewhat different.

I doubt it - see firstrees' succinct post above.

As far as I know, I believe that rectangular cross-section is preferable for most situations. It avoids causing a vortex at junctions.

It is quite possible (and I should have thought considerably less painful) to play the full cadenza wearing conventional shoes - of course, with a slight heel. I am not convinced that playing this in socks would work. If the piece were taken at a good speed, it would be quite difficult to play cleanly. In addition articulation would also be awkward - and extremely uncomfortable. I have occasionally inherited pupils who initially insisted that they could play better (generally) in socks. I made then try suitable shoes and on each case the pupil concerned became converted to playing in shoes. I must admit that I have never been convinced by shoeless organ playing.

I am sure that this is very clever - but what is the point? It still sounds infinitely better on an organ (at least one of reasonable quality and design). This appears to be one of the most cumbersome performance methods which I have ever seen.

It looks like a former draw-stop console which has been altered to incorporate the type of stop tabs which were used by Osmonds and rocking tablets of the kind favoured by the makers of some cheap electronic substitutes.To be honest, if this is the case, I am not sure why anyone should wish to do this. As you say, it is very ugly. Mounting stop tabs on vertical, concave jambs seems pointless to me. I cannot imagine that it offers any improvement in the way of convenience to the player. However, the case, jamb panels, keys, pistons and key frames (and also the pedal-board and the pedal 'sweep') look to be of good quality workmanship, if the photographs are reasonably true to life.

Well, yes - but for sheer entertainment value, the old recording from Nôtre-Dame, with Jehan Revert (I believe) and Pierre Cochereau is worth the money. I have no idea whether Cochereau was drunk or simply bored; however, he starts of on the full organ - and works up from there. There are several moments when he drowns the choir (it must be admitted that this is not necessarily a negative point) and there are also a few occasions when the distance between the choir and the organ, and the inherent time-lag appear to defeat even Cochereau. However, I would certainly agree with Philip - the Vierne Messe Solennelle is well-worth it. After all, one does not have to perform every movement each time.

To be honest - not greatly; however, it is at least another idea. Presumably you do the Vierne Messe Solennelle? There is , in addition, the Dvořák Mass, in D major; and even the Gounod Deuxième Messe pour les Sociétés Chorales - although in the case of the latter, you might want to wash your hands afterwards. Do you sing the short Mass setting in F, by C.S. Lang?

Ah - I see. Thank you for this. I did once go to see a film at the Odeon, Leicester Square (the one which is not being demolished). I am embarrassed to admit that it was Tootsie, featuring Dustin Hoffman. (In my defence, my girlfriend wished to see it; this was not my choice.)