AJJ

I have experienced this - in a way - on a number of occasions with my singers. If I use the transpose on one of our digital pianos at school they will quite often disregard the key of an intro. and come in (all of them!) at the pitch that the piece should be at. They do not all have perfect pitch or anything similar - in fact as many of them are non music readers I would put this down to some sort of in built 'natural' pitch memory or something similar. My sense of relative pitch is pretty bad so it takes quite a wide margin of transpose to make me feel at all uneasy - it mostly happens with pop type ballads written at impossible pitches where singers want the pitch back in their 'comfort zone'. AJJ

They occasionally have recitals here - Langlais responsible for the opening recital when it was last rebuilt. He originated from the area I think. http://orgue.free.fr/of332.html Here are a few more: http://orgue.free.fr/province.html#5 AJJ PS 'Agree with pcnd about the cafe!

We were over that way last year though a young family precluded much exploration. You could try: http://www.ffao.com/ They are quite helpful crowd and they have a conference each year in a different part of the country. Their Brittany handbook was quite handy when we went. Their links page might also assist. These links are also good - from the Dutch organists' association but with plenty to search through: http://www.hetorgel.nl/links/lfrankrijk.htm If you want to know about the organs built by the Dallams then Michel Cocheril is the person to contact. This will give you a taster: http://npor.emma.cam.ac.uk/Reporter/jan93/c193.htm Have fun! AJJ

Thanks again - and back on topic with Elgar (and Howells) albeit the British organ heritage via Belgium with French/German influences - I like it! AJJ

Interesting - thanks. Anneessens instruments have some reputation over here for being somewhat hastily assembled and in consequence not very long lasting. Pipework exists as the basis of much rebuilt instruments (Bridlington Priory, Italian Church Clerkenwell) but few originals still exist. Is this the same in Europe? AJJ

There's an instrument I'd like to hear - as an aside - there was a Stahlhuth at St Patrick's College Maynooth near Dublin - rebuilt long ago by Willis and eventually incorporated into a Kenneth Jones 'eclectic' scheme. The case is still there in an amazing chapel. The only other example I could find over here was this - shame about the console though. I'd be interested to know the connection whereby this builder and for example Anneessens got contracts in the Uk/Ireland Pierre. AJJ

The other side (personalities aside) of the above is that anyone who aspires to 'Google celebrity status' needs to accept the fact they are then open to scrutiny and possible comment from whoever wherever. AJJ

I think we're getting somewhere!! AJJ

A Drake/Aubertin collaboration would be interesting! AJJ

I hadn't thought of this angle before - it is interesting to note that where some of the bigger European builders building over here are trying to nudge aspects of their work broadly in the direction of H & H, Willis etc. the effect doesn't actually quite get there. For example there is a newish Cor Anglais near here in a 'Romantic' (in the broadest sense - Solo division in a sort of neo 'something' scheme) context that sounds somewhat lacking compared to an original HN&B Clarinet sitting beside it. Likewise new 'big' solo reeds which do not quite make the mark. Fisk (on CD evidence - listen to the Tubas 32' upwards at the Meyerson Centre - if you like that sort of thing) in the USA seems to have managed however. OK they have been wandering around the UK measuring scales and are probably skilled voicers but still seem to come up with a sort of 'pan European neo Cavaille Coll' style that is fine in it's own context but is not HA or Willis etc. By coincidence I listened to the Elgar Sonata recorded by Keith John at the Temple Church last night - vintage H & H but for the first time I was able to listen to this type of organ for any length of time and enjoy it. As someone said somewhere else - the combination of music, instrument and player made it - for me at that moment at least. I would not want it every week though. AJJ

That sounds about right - though when I gave them Naji Hakim last time I was there they were not moved to tears - maybe I'll try the Aeolian harp bit next time! AJJ

I think this has hit a nail on the head - octave couplers aside, I sometimes wonder when I play here quite what music was intended apart fom hymns and service settings etc. Not unpleasant sounds but big 8' and 4' on the Great that dominate and the rest very much in the background. I doubt if even octave couplers could change this. AJJ

We managed here in 1984. AJJ

I agree with Cynic about the Swell Sub to Great - it would seem to me to be decidely more of use than open to abuse. Mind you a good set of strings, Sub and Super over a decent 32' is a good enough reason to have them even if they are never used for anything else - pure indulgence!. There is also the 'Octaves Alone' on the Choir at Exeter Cathedral - which, without it's Sub and Super which are not present, would seem to be odd until one understands (I think) that it is there to shunt the 16', 8's and 4' quiet stops up an octave for more variety in accompanimental noises. This would seem to be Vox H's idea of 'closet' extension principle - not very 'neat' but if it works.... AJJ

Carlisle - rear view? AJJ

I used not to buy CDs of improvisation but recently I have changed this pattern - mainly due to the number that can be listened to over and over again. This is good (in the Briggs/Cochereau style) as are Nigel Allcoat's various improvisation CDs (in the Allcoat style) on the Cantoris label. AJJ

Away from Leiden but in the general context of the thread this looks quite interesting. AJJ

Interesting also that the church at Little Worth has not yet reached the NPOR - maybe the instrument here (if in fact there is one) could be discussed on a new thread especially if Borrow had any hand in its development. A 'Borrow' system for organ stops would be quite handy - something like the libraries of sampled sounds for electronics! (Could pcnd's Chamades be loaned out perhaps?) AJJ

Me too - especially where organ music was concerned! AJJ In fact it was much later and through an organist whom I seem to remember Vox and I are (coincidentally) both aquainted with that I started to listen to Vierne and Widor and as a consequence discovered the French School from them up to the present.

Possibly in the same manner as the more recent changes in the South Choir at St Pauls Cathedral - maybe more accompanimental variety etc.? AJJ

Which is how the then Assistant DOM used it - in a solo context - when in the 70s I visited and had a very thorough demo. Also agreeing with Nigel A in a round about way - if it sounds right for what you want then use it. For a beefy solo in Chorale Preludes I often use the 2-2/3 & 1-3/5 Sesqui. plus IV rank mixture as a solo combination. It also serves as a more 'clangy' chorus top if needs be. This agreeing with what Pierre L was suggesting too. Ears are the best judge! AJJ

Dame GW also did something similar I seem to remember. In an Edinburgh Festval concert where the orchestra was in the Usher Hall (organ out of action then) and she was at St Mary's Cathedral. Didn't she have a police escort to get back for her standing ovation? AJJ

So I wonder where US/Canada are on the family tree with new organs like this appearing? OK - one can't judge an instrument by stoplist alone but are we climbing up the tree or back down? And - yes - what about repertoire? AJJ

Off topic - but but is the Sheldoinian installation any good? Is there anywhere that more info. can be found? AJJ

Boosey & Hawkes - via their website in a volume of music by Karl Jenkins. http://www.boosey.com/pages/shop/product_d...d=906436&a= AJJ