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Mander Organs


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Posts posted by AJJ

  1. 2 hours ago, Andrew Butler said:

    As a former member of the cathedral congregation, and having played this organ, this seems a sensible scheme - particularly the Clarion Mixture.  Clifford Harker used to play RH up an octave with a big congregation.  However, I am surprised at the same nomenclature for two Clarinets...?  I am also struggling with the logic of an Acoustic Bourdon at 32' AND a separate Quint stop from the Bourdon.....?

    As far as I can see the Acoustic Bourdon will use the 10-2/3 for the lowest octave only whereas the Quint will be available for the whole pedal compass. Nicholsons have done this recently in a number of schemes.


  2. Deffinately Evocation of Wells Cathedral - David Bednall, not long published by OUP. Very effective, not difficult and brilliant if you want to sound as if you can do posh improvisations that don’t sound like Pierre Cocherau! Nice also to be able to pop down the road from here and see the place he was inspired by even if the organ there IMHO is not the most inspirational of cathedral instruments.


  3. At the start of the carol service ‘Variations on Hark the Herald Angels Sing’ by Robert Edward Smith and afterwards, ‘Processional March’ by John Hosking, newly commissioned and delivered just before Christmas. It sounded brilliant on my little 1 manual but designed also to be ‘upvamped’ for a larger instrument. Soon to be published by Chichester Music.


  4. I used to have a Taskam recorder but now just hook mics. straight into a laptop or ipad via a small mixing box. I use Audacity for everything in my ‘day job’, GCSE and A Level coursework, class performances and on the students’ individual work stations. Easy to use etc. I tend not to record much at church, best to keep it ‘of the moment’ than have bloops etc. preserved for posterity.


  5. The actual stoplist ‘looks’ like others from the same builder and would appear to be attempting to get ‘much’ from ‘little’. What worried me slightly was the need to have wide scale French mutations, Italian flutes and English Stopped Diapasons all coexisting to enable as wide a repertoire as possible to be played. I can’t help comparing it with the new Drake organ at Chelsea Old Church where the instrument has its own definite identity with the attendant ramifications for whoever is playing. To me at least dinky little flute choruses topped by a 1-1/3 are decidedly last century. However, one can not judge by stoplists alone.....

  6. Synoptic stoplist from Organ Club Journal 2018/3.

    Great - 16, 8, 8, 4, 2, IV. Octave, Sub, U.Off

    Swell - 8, 8, 8, 4, 4, 2-2/3, 2 1-3/5, III, Trompette Harmonique 8. Octave, Sub, U.Off

    Positiv - 8, 8, 4, 2, 1-1/3, Cromorne 8. Octave, Sub, U.Off

    Pedal - 32 Resultant, 16, 16, 16, 8, 8, 4, Fagotto 16, 8, 4.


  7. The organs I play on Sundays in our group parish are all of the small Victorian ‘village’ type (and none the worse for that) and the space we have at home would not have fitted a pipe organ of any complexity. Furthermore I would not have been happy with just a couple of 8’ and 4’ flues however lovely the mechanical action might have been. Keeping in mind also the rest of my family (and neighbours) I opted for a digital. It is however compact in nature, as comprehensive as I need tonally but with no gimics. and above all it does very little else than a pipe organ of comparable size can do. It has some really good sounds and interestingly I do not tire of playing it for extended lengths of time. It means that I can practice in the warm without problems that seem to be encountered re security and insurance from getting church keys these days and if necessary shut the volume right down or use headphones. Above all I am able to keep my technique up to a standard I am happy with. 


  8. 18 hours ago, pcnd5584 said:


    Nice! I would however like a 2’ on the Swell and as someone mentioned above, a Gamba 8’ or suchlike on the Great  might be nice too. A not too narrow Sesquialtera II and 2’ Fifteenth on the Choir would also broaden resources as would a 4’ Fifteenth on the Pedal. Maybe a Cornet V from TG on the Solo to go with the big reed? Is this yours PCND? I seem to have lost the thread...or plot...or something!


  9. 1 hour ago, Vox Humana said:

    I may be reading this incorrectly, but it comes over as a tad arrogant - or at the very least smug. (Perhaps it's the use of the word 'snowflakes', which can be liberally applied to whichever point of view you don't currently agree with.)

    Their stance is indicative of quite a few on quite a few topics these days. Almost passive agressive!


  10. 42 minutes ago, Martin Cooke said:

    A very interesting and, for me,  pertinent, post by handsoff and reply from Colin. I know it's all theoretical but I would be keen to take up both of Colin's ideas - swap in a 4ft flute for the Claribel, and consider what might be more useful than a Dulciana - possibly a delicate Twelfth or a Nineteenth. But I would also want to do something about the pedal organ so that it had a 30 note board with complete Bourdon. Is that physically possible in cases like this where there is only a small pedalboard? Would it have to be on electric action?? I say 'pertinent' because a local instrument is very like this, by William Hill. Tonally, it is beautiful, but it would be so much more versatile and useful for teaching and learning if it had a 'proper' pedal board. What thoughts?

    Interestingly, having played ‘village’ type instruments such as this regularly for the last 20 years or so the last thing I would probably do to a 19th Century 1 manual would be to over tinker tonally. To add full compass mutations would probably be of less use than more full compass variety of tone. I do have problems, however with odd compass or strangely aligned pedalboards. In fact one such that I visit is to all intents and purposes useless unless I want to play sustained drones etc. being so short compass and out of alignment. I mostly play manuals only there.


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