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Mander Organs


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Everything posted by AJJ

  1. Didn’t Burge found the Wyvern company? Maybe Graham Lord who is now in charge maybe able to throw some light..? A
  2. 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
  3. 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
  4. 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
  5. 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
  6. It was many years ago that I was there and I seem to remember that someone (possibly Walkers) changed the Swell Schalmei unit for an Oboe at some point since. It sounded quite pleasant with that ‘up front’ voicing one often finds with smaller Comptons. The organist who organised its installation (maddeningly I still can not recall his name) wanted something on which he could play more ‘classical’ schools of organ music with their associated colours and choruses as things seemed to be heading that way in other places. Boltons was likely a wealthy and fashionable church then and having Comptons do it was possibly a brave experiment. I remember Ralph Downes commenting that some of Roger Yates’ work had a ‘whiff of Willis III about it’ and I suppose that similarly with the Boltons organ some of the (perceived) classical elements were there but with quite a lot of Compton too. A
  7. Possibly the work at Bingley was done by Walker. http://www.npor.org.uk/NPORView.html?RI=N01703 This Compton was always quite fun to play and hear. I once chatted at some length with the organist who designed it (I have forgotten his name) when he interviewed me for a degree place (which I never took up) in his later capacity as DOM at St John’s College York. http://www.npor.org.uk/NPORView.html?RI=N17245 John Rowntree did a doctorate on some aspects of this, John Norman and Paul Hale also have much to share. A
  8. As an undergraduate I used to practice here before the Peter Collns organ arrived in the Turner Sims hall at Southampton University. A somewhat strange instrument with the console at the east end and the pipework far away in the west. I always wondered who was responsible for acquiring it from a small and somewhat obscure Hull firm for a downtown church. It always seemed to be freezing cold there! * http://www.npor.org.uk/NPORView.html?RI=N11626 Somewhat later with mechanical action this time. http://www.npor.org.uk/NPORView.html?RI=N08854 Roger Yates was an interesting character who was in many ways ahead of his time. A few years back I did a considerable ammount of research into Yates resulting in an extended article for Organists’ Review. If anyone would like a copy please PM me here. A * It is interesting, however to look at what Hall & Broadfield did here. Their work here and above seems nothing like the ‘jobbing’ work they were mostly doing elsewhere. http://www.npor.org.uk/NPORView.html?RI=N04015
  9. Thanks for this Wolsey, I remember these programmes well. A
  10. I had a flashback reading this to having lessons on the organ and ‘depping’ in the choir at Lincoln Cathedral during the mid ‘80s. The Great to Solo coupler to some extent turned the 8’ and 4’ Tubas into ‘uber’ Great reeds on the top manual to at least try to energise the huge space in the nave there. I am not sure how much it achieved this but the sound just west of the screen was stunning along with the full Swell and 32’ reed up in the triforium. I once tried adding the Tubas a Salisbury in the same way but due to the relatively enclosed space there the effect was decidedly more destructive to those below! A
  11. Continuing thanks for all this! The more one reads the more one sees the thought and consideration that thas obviously gone into the present work. For instance, a small detail but the ‘Enclosed Solo on Swell’ coupler. The possiblilities for liturgical work will surely be greatly enhanced and one can only but imagine the ‘uber’ full Swell effect complete with Tubas! A
  12. One small query. What will be the effect of the Choir ‘Octaves Alone’ please? Thanks A
  13. It is interesting to compare the work going on at York with that at Canterbury, both at the hands of the same firm. Rather in the manner of ‘neo’ H&H at one and ‘neo’ Willis at the other. Both look to being eventually excellent for their respective buildings and uses - I do wonder however whether the next incarnation at Worcester could be ‘neo’ Hope Jones. That would be fun and there is at least one builder I can think of who might be able to build it! A
  14. Clifton Cathedral in Bristol also has an electronic in use alongside the 1973 Rieger Orgelbau instrument. A
  15. The renowned French organist and composer Jean Guillou has died. A
  16. Depending on their ages - do not play anything too long even if it means excerpts. If they know what is ‘going on’ then the repertoire does not have to be all pieces they know. If you gain their attention then you will have achieved much. Pieces that you can enthuse about will work whether it be a selected chunk of JSB, Messiaen’s ‘Les Bergers’ the Duruflé ‘Scherzo’ etc. Also maybe find out what they have done at school. ‘Not sure how this would work but maybe also involve some participation - ‘prepared’ semi improvisations with ostinati, drones, pentatonic (or more exotic) scales etc. The younger the are the fewer preconceived ideas they have so as long as you gain their attention most things will work! Sounds exciting! A
  17. Nicholsons have included interesting developments in their swell engines at Llandaff etc. Maybe get in contact with Andrew Caskie their MD. organ builder and excellent player too! a
  18. The composer John Joubert has died aged 91. A
  19. AJJ


    Can anyone help please? On the clip below are two pieces, the first is from Michel Corrette’s book of Nöels but I am unable to trace the second which is a set of Baroque type variations on the well known ‘Marche des Rois Mages’. I would like to get hold of a copy of the second piece but it does not seem to crop up by searching under ‘Corrette’ or anywhere else. Any information would be welcome. Thanks in anticipation. A
  20. The stoplist to me at least looks a bit odd. I suppose it depends on what one wants to play on it but there seem to be a few anachronisms if one follows the C-C idea. ‘Dulcian’ and 2 rank pedal mixture for example? A
  21. Church Carol Service number one: Nun Komm....by Frederick Frahm before and some Telemann after. Church Carol Service number two: Noel Anglais by James Woodman before and ‘Vivo’ by David Llywellyn Green after - only one manual to deal with here! School Carol service, who knows. Nobody has told me what I am playing yet! Ho hum! A
  22. Just so that folks do not think all is completely lost the state school where I work has a very engaging Literacy curriculum involving not only parts of speech, sentence structure etc. but also weekly spelling tests. Moreover singing happens in Music lessons and in year group assemblies and music theory etc. is part of the Music curriculum. Mercifully however, being theoretically semi retired none of this is now my responsibility though when I wasn’t the same applied, musically at least. A
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