AJJ

I'm worse than useless at turning pages for myself - either a set of strategically connected p**** c****s or a well trained 12 year old daughter works for me. 'Not sure whether I could cope with anything electronic though. A

Thanks! A

I would like to get hold of a copy of the above piece - can anyone help please? Thanks A

'Got it now! Thanks anyway A

Somewhere in a back copy of The Organ Builder or Organ Building (I seem to remember it changed names at one point) I vaguely remember an article about a 'studio' organ in the USA built by Walkers where, as space was a premium flue basses were shared between divisions and some sort of 'haskelled' effect was used with 16' reed basses. The journal concerned is well buried and not to hand for checking but I seem to recall that although experimental this worked quite well. A

H&H also added a Suboctave to the Swell at St Albans recently which however does not operate on the 16' reed in that division. Consequently one can get the desired thickening of textures, extra 'wellie' on the 8' & 4' reeds, wonderous Celeste effects but not the growling effect 32' from the 16 plus this stop. A

Yes - and in my one of my cases one manual and oddly centred pedals - mind you I don't have to do Choral Evensong much - but Lessons & Carols and a reasonable diet of high days repertoir are part of the course. A challenge but not always an unrewarding one! A PS There must be a name fo the medical condition that results from protracted playing - with one's right foot stuck on a far right un-balanced trigger Swell trying desperately to 'swell' it while the remaining three limbs keep the music going!

This is interesting - I for one had not heard much from this company for a while. A

If anyone has a copy of Nadia Boulanger's Pièce sur des airs populaires flamands for organ or knows where I could get hold of a copy please could they PM. Thanks A PS Sorry about the blooper in the post title - no specs on at the time!

'Just had an email this morning - try here - they are very obliging and quick to post and there are lots of other good pieces on their books too. A

I like this very much! A

I meant the typo I was writing about. A

This looks fun - and only 20 minutes from here - 'looking forward! The Edington Festival is worth a detour anyway. A

'Good reading all this - I see another book of stories coming on somewhere! I do not tend to 'do' last minute cathedral playings although I was once offered one as a 'swap' at Salisbury with a visiting group. When I saw what they wanted me to play I opted to do the easier job and graciously allow another organist friend to enjoy the Willis. I did however (a while ago now) have to do something similar at St Albans and all I can say is that despite what has been written about this instrument taking no prisoners I found it a joy and everything worked. More importantly no one complained after! A

I got a copy via Amazon - it arrived (seemingly) almost as I had entered the financial transaction on my PC - amazing! 'Lots of good stuff and obviously catching on as the Thoma Hewitt Jones Carnival seems to be on the programme for the Organ Club AGM recital in a week or so. None of it is fiendishly difficult - I'm playing the Rutter tomorrow before Choral Evensong and have not done much on it. Following 'Cynic's' review in the Organ Club Journal - a very minor registration typo - there is a Solo Reed mentioned at the start of the Rutter which, if you follow the registration, never actually gets used. A

As one of Ralph Downes' bigger projects I am surprised that this organ has not figured more in journals, scribblings etc. I am unlikely to be nearby in the forseeable future so if anyone has had experience of this instrument - how does it compare to the beter known RD schemes such as Gloucester, St Albans etc. Are the C-C origins still evident and how has recent work effected things? A

But fascinating all the same - thanks! A

I wonder if I could get mine to do that next time I play? Seriously - what's the point? A

Thanks A

That's him - thanks - and apparently enlightened as to what he wanted for a new instrument. I didn't end up going to the college in York (they had an Allen there then if I remember correctly) but went Southampton with a new Peter Collins instead - the merits etc. of which of been discussed on here before. Happily also - during my post grad. teacher training year in Winchester I had as my tutor another enlightened 'organ type' of rather a different way of thinking. Our tutorials were often quite off the topic of educational theory but I did manage to pass the course all the same! A

Not tracker but very un Compton is this - there has been some work since it went in (Walkers I think) and the Swell/Great reeds are now slightly different having been somewhat tamed. I've not heard it for 30+ years but I think another poster on here plays there sometimes. I once met the chap who drew up the scheme ('can't remember his name but he was organist there when it went in) - he was interviewing me for a teaching course at a college in York in the mid '70s - we spent more time on the Boltons organ than on my possible college place. A

'Must get over and see this one - 'never knew it was there! A

Thanks - 'will check this - at least there is no danger of RRT 'poking' or whatever it is they call it on fb. A

This may be a total blank but does anyone know of where I might get info. about Sir R R Terry's students - around 1900? He was of course DOM at the new Wesminster Cathedral from 1901 and a towering figure in the re introduction of Renaissance music into the UK and also in the revival of Gregorian Chant. This would really help in some current research. Maybe there is even a R. R. Terry Society somewhere out there somewhere? Thanks A

I had always understood the Sharp Mixture to be prepared for only but not inserted - NPOR seems to substantiate this but maybe someone else knows better. A