AJJ

Mine. GREAT Double Diapason 16 Open Diapason 8 Open Flute 8 Principal 4 Conical Flute 4 Twelfth 2-2/3 Fifteenth 2 Mounted Cornet (TC) 2-2/3 III Mixture 1-1/3 IV-VI Trumpet 8 Swell to Great Chair to Great Solo to Great CHAIR Stopped Diapason 8 Principal 4 Chimney Flute 4 Fifteenth 2 Sesquialtera 2-2/3 II Mixture1-1/3 III Tremulant Swell to Chair Solo to Chair SWELL Open Diapason 8 Chimney Flute 8 Salicional 8 Celeste 8 Gemshorn 4 Flageolet 2 Full Mixture 2-2/3 IV Fagotto 16 Trumpet 8 Hautboy 8 Clarion 4 Tremulant Solo to Swell SOLO (Enclosed) Harmonic Flute 8 Viola da Gamba 8 Flute Octave 4 Piccolo 2 Clarinet 8 Vox Humana 8 Tremulant Tuba Mirabilis 8 Great to Solo PEDAL Open Bass 16 Sub Bass 16 Quint 10-2/3 Principal 8 Fifteenth 4 Bombarde 16 Swell to Pedal Great to Pedal Chair to Pedal Solo to Pedal Solo to Pedal Octave A

Maths was never my strong point! A

This looks good. If you type BACHORGAN into the discount box at checkout and you get the CD for £5.00 (p/p etc. on top) - good value I think! A

Thanks anyway! A

If anyone here can point me in the direction of a copy this chap's for organ could they please make contact.I've tried the usual sources but can only come up with it re. YouTube - unless it is one of his Three Pieces for Organ. Cheers A

In an email today they said that the organ is not there now nor has it been there during their time in the building. A

Here's another in good condition - check out the decidedly unusual spec. and the pictures to see the amazing long compass choir manual. The recording on Raven shows it off nicely. The organist there, Anthony Burke is also very obliging with info. etc. A

....and Marcus Wibberley from Portsmouth Cathedral is the new DOM at Hexham from November. A

Thanks A

'Will ask around fellow members of the BDOA. A

'Would like to see this sometime too. A

Nice idea - I'll have one too if anyone finds one! A

It being just over the hill from here I had long wanted to play it and actually managed to get a considerable time there some years back. There are some very fine points tonally but also one or two rather weird corners (synthetics and some of the mixtures) - I also found many of the plena strangely unexciting. Also, part from the Tuba in its own little box much of the rest had a slightly non directional feel about it. It would be interesting to hear Derby, Wakefield etc. to compare - though - three years at Southampton University provided the opportunity to savour the big Compton in the Guildhall there. I never touched the theatre console but have fond memories of the other including the brilliant Robin Bowman playing the continuo (and one suspects much more) part for Messiah on a very clear set of 8', 4', and 2'. A

Laurence Elvin also put together quite a lot of information on Compton in Pipes and Actions - someone recently commented on this elsewhere. It seems fairly ok and not overladen with 'memorabilia'. A

And if you contact the DOM - Adrian Richards you might be able to get a play. A

Try and get to see some of the 'rest' of Lincoln and Norwich - both lovely cities - St Peter Mancroft - the church in the market place in Norwich has an interesting organ too. (Lincoln was home to us for 3 years and my wife studied at UEA in Norwich.) A

This looks nice - has anyone heard it or have the spec? A

Thanks - here it is. A

As a matter of interest does anyone know where this instrument (Mander I seem to remember) ended up? A

Here's an interesting one - Nocturne for an Orange in G flat by Porter Heaps. I dread to think what other fruit combinations one could use. Seriously (!) if anyone has a copy of the same composers Swinging Bach please could they PM. A

I recently re read bits of one of Laurence Elvin's books quickly followed by a quiet afternoon thumbing through back issues of The Organ and it set me questioning. Much of the wrtiting is in a sort of all knowing 'gentlemans' club' type style with a smattering of descriptions of the sounds of stops etc. and somewhat hazily simplistic historical backgrounds. How do people rate these writings these days - compared to Bicknell, Thistlethwaite, Jonathan Ambrosino (in the USA) and Peter Williams for example. Were they 'just' interested amateurs - not that there is anything wrong with that - or real experts in their field? In parallel way - what also of their work with the instruments themselves? As an example - Wells Cathedral. I sang their again recently and was quite disappointed by the way that the organ was not able to conduct itself even in expert hands. Soundwise the early work and later Clutton inspired additions did not sit easily together with everything somewhat lacking in real projection and identity - another similar scheme at Ely has not long ago been somewhat 'de Cluttonised' and for its good from what I have heard. Ralph Downes had enough personality and identity in his work (backed up by his writings ) for most of it these days to be just 'augmented in style' (St Albans, Paisley, RFH and Gloucester for instance) but how do these others stand now? A

I am playing for the wedding of a friend on this Hele next year - one could open another 'repertoire' thread on it perhaps? A

I agree - but I often feel a sort of detachedness (?) in Britten's 'churchy' music - possible that the fundamental words/music/sentiments connection was not always as present as in others' music. Not that he didn't do the tasks asked of him extremely well though - the Jubilate in C is a good little piece as are the 'Hymns to ...' various entities. Compared to the Grimes Sea Interludes, String Quartets etc. there is no comparison IMHO. A

Thanks for this - 'may PM at a later date. A