AJJ
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Posts posted by AJJ
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There is a facebook page on Father Willis instruments which is reliable and free from the daftness found in some of the organ areas in said media.
https://www.facebook.com/groups/639145742878503/
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I was taught by Alan Harverson in my gap year at the RAM before going to Cambridge......."
Interesting - thanks!
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Thanks both above - that is certainly encouraging!
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Having had a lovely little one manual and pedal 1860s Vowles as my main church instrument for the last 20 plus years I can certainly say that I never tire of what one can actually get it to do both liturgically and in the repertoire it can cope with. With a bit of research there is much around from all points of the repertoire that will work effectively - enough to make me not over worried about that which will not!
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This instrument
http://www.npor.org.uk/NPORView.html?RI=N08874
caused quite a stir when it was installed and indeed somewhere I still have an LP of Alan Harverson playing various 'baroqueries' on it soon after. Does anyone know if it is still looked after, used in recitals etc. as one doesn't seem to hear much about it these days.
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Oliver Hancock goes from Assistant at Portsmouth Cathedral to St Mary's Warwick as DOM.
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Wine of Peace - Charles Camilleri
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Of the two IV compounds on the Gt is one a Cornet or a high mixture?
It looks like it it is the same as is currently the case - Mixture IV with tierce, Fourniture IV with just quints.
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Are the 8's three opens plus two flutes?
2 Opens, Gamba, Open and Stopped Flutes.
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GREAT
16,8,8,8,8,8,4,4,2 2/3,2,2,IV,IV,16,8,4
TRANSEPT GREAT
16,8,4,2 2/3,2,IV,8
SWELL
16,8,8,8,8,4,4,2,III,IV,16,8,8,16,8,4
SOLO
16,8,8,8,8,4,2,16,8,8,Fr. Horn 8, Ophicleide 8, Tubas 8,4
CHOIR
16,8,8,8,4,4,2 2/3,2,2,1 3/5,III,8
PEDAL
Open 32,Stopped 32,16,16,16,16,16 Solo,16 Choir,8,8,8,4,4,IV,32,16,16,8,4
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The proposed Canterbury spec. Is out there in the big wide world via the latest edition of The Organ Club Journal if anyone is interested.
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The home of two acomplished musicians.
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Yes - that's a handy device. Holy Trinity, Winchmore Hill, London, had a very decent Speechley (destroyed by fire many years ago), which had no Swell 16' reed, but a Contra Fagotto on the (enclosed) Choir. One could do a lot of things with that set-up.
Similar here:
http://www.npor.org.uk/NPORView.html?RI=N10088
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One of the mid Victorian instruments I play on regularly has its only manual 16' flue on the Swell and I often wish that it were on the Great. For me at least in repertoire it would work better there and I would also find it more of use there in service playing. There is no 16' reed on the Swell in question but that is part of the nature of the beast and something I can happily live with. I stand to be corrected here but I seem to remember reading somewhere that Father Willis made his Swell 8' Cornopeans or Trumpets of larger scale in the bass when no 16' reed was present to fill out that part of the compass.
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I recently took posession of the recent Positif Press books on the organs at New College Oxford and those at St George's Chapel Windsor without a problem via an email to John Brennan.
jb@positifpress.co.uk
Both books are excellent!
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Is there confusion here between Selwyn and Sidney Sussex?
Selwyn popped up in a continuing discussion above.
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Thanks for both of these - good to hear positive things about the Flentrop.
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The Flentrop at Sidney Sussex is now apparently in and dedicated. It would be interesting to hear from anyone who has heard/played it how it comes across.
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As a matter of interest does anyone use these remote divisions in any repertoire context aside from the liturgical?
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Yes, and if you take it even further you get the sort of one manual job than can be found in many villages down this way. In chancel with choir if there is one - 8' OD and possibly 4' unenclosed with 8' and 4' flutes, 8' string or Dulciana with possible Celeste, 2', maybe Mixture and an Oboe all enclosed. Solitary 16' on the Pedal with coupler. Even the sometimes lowest octave missing from the 8's is not always a problem as the separate drawing stopped 8' bass can be creatively used with the pedal coupler. It always amazes me what these little gems can actually do - great for the more 'village' end of the choir repertoire and able to cope with a surprising ammount of 'proper' organ repertoire. They can also keep a moderate sized congregation in time.When you look at them, a lot of organs from the turn of the last century have a lower manual which is basically a Choir Organ plus a big diapason "to lead the singing". The registration would be additive, as on a French organ, with the Swell to Great on most of the time and the swell-box used to cover up the addition of stops. In other words, the spec would be the stops the local cathedral organist used most often on his four-manual Willis/Hill/Walker/Harrison to accompany his choir, plus the diapason to keep the hymns going.
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Hi all,
I am very interested in looking at these further but am struggling to source a copy. Worldcat lists the publisher details as Portland, Ore. : Hemidemisemiquaver Press, 1984 but thereafter I struggle to find any further details. Would very much appreciate it if any members have any further insight on these.
Thanks!
Nick
An enquiry via here may help.
http://www.guybovet.org/liens_en.html
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I have an up to date stoplist of the St. Patrick's Cathedral Dublin organ and the synoptic spec.of the Nave Organ is OD 8', SD8', Pr4', 2', III-IV. Anyone interested in the full details please PM.
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Thanks for all this - have just ordered!
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The pieces arrived today and if first impressions are anything to go by this anthology will prove to be a real treasure trove. Think early Langlais, not too astringent, plainsong based and generally two stave with optional pedal. Nice!
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Unusual audience member
in General discussion
Posted
This seems to be the case on occasions in France too - a recent solo organ recital in Bourges Cathedral attracted a substantial audience.
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