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Mander Organs


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Everything posted by AJJ

  1. And shh...not only are the Wyvern ‘Hauptwerk’ set ups good, sitting in our front room is a new 2 manual... A
  2. Totally in agreement! The organ is still the same one I first encountered 40 plus years ago but mechanically and tonally polished so to speak. It proves a point now that a decent action with decent voicing can make music sound good. OK it can not cope with too much high Romanticism but much of the classical and early repertoire works well and anything later requiring clear lines, warm foundations and characterful voices likewise. A
  3. Last week I spent a happy hour playing the Collins at Orford and was mightily impressed. The sound is much more refined than it was when it was in Southampton and indeed the revoicing for the new acoustic has been most successful with former rough edges now lovingly smoothed so to speak. The new action is also all that one could wish for and the new balanced expression pedal and shutters enclosing the Brustwerk an added bonus. A
  4. http://leicestercathedral.org/new-assistant-director-of-music-at-leicester-cathedral/ Exciting new appointment at Leicester Cathedral. A
  5. From personal experience one has to take care with ‘all things to all people’ stoplists that what one actually needs to play actual repertoire does actually work. As an example I recently played a comprehensive two manual where everything ‘looked’ splendid but in fact nothing on the Great was quiet enough to accompany the Swell Oboe or 8’, 4’, 2 2/3 & 1 3/5 combination. The Swell Mixture was also too high to be used properly in choral accompaniment and also sounded decidedly weird coupled down to the Pedals in combination. Likewise deviously fiendishly put together stoplists can often often defeat their own purpose namely to play music or accompany liturgy...speaking as a frequent inventor of such in my misspent youth! A
  6. Great - Make 4’ Flute ‘harmonic’, add 12th 2 2/3. Swell - Change 2’ to Flageolet, add 15.19.22 Mixture, add Cornopean 8, add Vox Humana 8’ add Clarion 4. Choir - Add Dulciana 8’, add Larigot 1 1/3 and maybe even enclose. Pedal - Add Violone 16’, add Flute 8’, take 4’ from Mixture and make independent 15th, add Contra Bassoon 32’. Couplers - Add Bombarde to Swell i don’t usually do these things...... A
  7. Benjamin Sheen from St Thomas NY to be assistant at Christ Church Cathedral Oxford. A
  8. I also learned at St. Mary’s Southampton for a year before the Collins at the university went in. A
  9. Belfast https://www.belfastcathedral.org/news/matthew-owens-to-be-the-next-director-of-music-at-belfast-cathedral A
  10. One can also access OR online via the ‘Pocketmags’ app.Handy for long waits in airports or such like. A
  11. Just what you need for Blaenwern on a Sunday morning! A
  12. Maybe a long shot...I would like to get hold of a (however battered) second hand copy of Making Music at the Organ by PH. If anyone is downsizing so to speak (as we really should be) please PM. Thanks A
  13. Maybe a look through here might help as a start if you have not already done so. Put Keates into the ‘builder’ search. https://www.npor.org.uk/ Paul Hale the former organist at Southwell Minster and source of much organ knowledge might also be able to help, google and you will find his website. A
  14. There is of course Rachel Laurin in Canada. She has produced some marvellous music at all levels of difficulty. https://www.rachellaurin.com/home A
  15. I recently commissioned a piece from the young composer Amy Summers. She has been ‘in residence’ at Nottingham RC Cathedral and is currently studying on a masters course in composition at Trinity College in London. She has produced some lovely liturgical music that deserves investigating and has a fb page with information etc. I have written about her in a recent Organists’ Review article also. https://www.nottinghamcathedralmusic.com/blog/amy-summers-composer-in-residence-profile A
  16. At times I feel that we organists don’t do ourselves any favours and on occasions the stereotypical view ‘out on the streets’ so to speak is not always favourable. The fact that on many occasions the music comes firmly second to the ‘mystique’ with many organists or organ aficionados (do other instruments have similar I wonder?) must be enough to put many off regardless of gender! The technicality and tonal mysteries are all well and good but without the music what is the point? I recently went to a local organists meeting where the centre of attention was a nice medium sized typical ‘village’ instrument, good action and musical sounds. An encouraging number attended with a good number of young players (male and female) who all turned up with appropriate pieces and played really well. There was a significant number (all male) however who came without music and ‘improvised’ in a decidedly unmusical manner. Yet this seemed totally acceptable to them! Most were local church players and when not on the bench could be found in huddles mulling over the beauty of the Swell strings, the fact that there was no electronic combination action or what would make the instrument even better for playing French music on. Enough to put anyone off forever! Working as I do with musicians of all levels and ages (and many outside the organist fraternity) I really feel that gender aside we need to remember that this mystique should not replace musicianship. The instrument is only as good as the player as with a piano, flute or even rock guitar. This applies to church music generally too I feel...but that’s for another forum! A
  17. Brilliant to hear! I remember it going into it’s first home with similar anticipation for it’s opening celebrations. We were very fortunate to have it and it still seems odd for the university to have got rid of it. A
  18. Unrelated Googling dug up this: https://www.pipeorganlist.com/Organ_Webpages/St._Peter,_Gustavus_Adolphus_College_Chapel,_Hendrickson,_sp.html Right near the end, Compton ref. I had not realised that they exported...or maybe I had missed something earlier on here. A
  19. Graham Lord is his son. A
  20. Didn’t Burge found the Wyvern company? Maybe Graham Lord who is now in charge maybe able to throw some light..? A
  21. As an aside on the subject of ‘secular’ tracker organs does anyone know if this instrument is used much these days? http://www.npor.org.uk/NPORView.html?RI=A00527 A
  22. IMHO it sounds much more ‘rounded’ since the recent work. The ‘fonds’ are much warmer and although very much in the style in which they were built the reeds are bettr regulated and again have more warmth. The new Positif reed is nice as are the new 16’ reed and Open Diapason on the Swell. It is still the same instrument but (maybe in a similar way to the last work at St Albans Abbey for instance) it sounds more comfortable and less edgy. I am starting to sound like one of those write-ups from ‘The Organ’ journal in the 50s and 60s but the above seems to convey things nicely. The mechanical action is also much better to play on. Well used for recitals etc. and worth a visit. A
  23. AJJ


    This can be obtained as a CD or iTunes download. I also heard his ‘Poème sur un Choral Imaginaire’ at ND some years ago - an extended piece using both the west end and east end organs. This is available on Youtube too and deserves to be better known - an amazing sonic experience! A
  24. I was thinking about all this with the recent death of Peter Hurford in mind. My ‘local’ diocesan cathedral back in the 60s and 70s was St Albans and I grew up with trips there as part of a visiting choir, being taken to performances by the St Albans Bach Choir, visiting the IOF and eventually playing for parts of a visiting choir service. To this enthusiastic youth it seemed that we had a cathedral organ like no other and whether in its liturgical role or as a recital instrument it never ceased to amaze. Even today after its recentish rehash and dare I say completion it still excites in the same way as Coventry and Windsor do. A
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