AJJ

Thanks Paul AJJ

I have 'character map' (from which you can get all the accents etc. you want) installed as a shortcut - following pcnd's assistance some time ago though I can't remember where I got it from in the first place - probably somewhere in the depths of Word and therefore searchable! AJJ

A good choice judging by his work at Tewkesbury and as son of Michael Nicholas (ex Norwich Cath. RCO etc.) keeping another dynasty (Nethsingha, Lumsden etc.) going in the 'system'. AJJ

As ever! AJJ

Isn't he in the process of putting an instrument of interesting design and construction into the RC Cathedral of St Mary in Edinburgh? AJJ

And there was that Choral Evensong not so long ago from Clare College Gambridge when (to my ears at least) the Von Beckerath was made to accompany some rather inappropriate stuff - Howells etc, I seem to remember. It can't have been as odd (soundwise) as the performance of the Saint Saens Organ Symphony not long after it went in! AJJ

The Aubertin at St Louis en L'Ile is like this too. AJJ

...............which takes us back to the gist of something Peter Hurford once said or wrote - that ones ears are perhaps the most important things when it comes to choice of sounds ie instead of preconceived registering or 'stoplist spotting'. When I was a student having organ lessons at what is now ajt's establishment on the south coast I used to come up with the most unorthodox ways of obtaining the sounds I required. The same still applies on occasions. AJJ

How does all this tie up when a new instrument is built specifically in a past style - maybe the Twyford Harrison for example or much of the work of Bill Drake or Goetze and Gwynne? I have not played enough of these to be able to judge - I suppose what I mean is whether or not a modern instrument setting out to be intentionally close to something from the past feels/sounds like a modern instrument or something older. Theoretically someone could request and have built a 1930s H & H (complete with authentic sounds and action etc.) - how would this fit in with the opinions expressed so far? AJJ

I think it is the sound. AJJ

I agree - that's why they are so useful - they work really well on the sort of village instruments I get to play - yet the music is certainly not of 'village' standard. AJJ

This might also be interesting - the organ in general is discussed as are the 3 'conjoined' Bombarde reeds: http://www.gerardbrooks.org.uk/index.php?d=8&a=1 AJJ

A well earned recognition - just play one of his instruments and you'll know why - and what a fantastic looking place to build them in - My wife wondered whether he does B & B as well! Good idea! AJJ

Also - I now never leave any music around the console since a pile 'walked' between practice on a Saturday following an afternoon wedding and the sunday morning service. AJJ

Good idea - thanks for this clarification!! AJJ

If it is out of print can one therefore have photocopies done? If so there are a number of organists who play the piece who could be approached. AJJ

This sounds a bit like advertising but the recording of Simon Preston at the RAH - also on Signum (part of the same Christmas present from daughter no. 2 as the Westminster CDs) is quite stunning. Some repertoire that at first glance might raise a few eyebrows but playing and recording are rather amazing! Has anyone else heard this? I would have it for the Gershwin and Jongen alone! http://signumrecords.com/catalogue/sigcd08...084_booklet.pdf AJJ

There is an article somewhere (back edition of Organists' Review perhaps) where the number of pieces based on a descending bass line is discussed in some detail - everything from the Bach 'Air' to 'the' Widor via 'Whiter Shade' - there is a surprisingly large number of them - something to work on during longer sermons! AJJ

Having just listened to the recent Robert Quinney recordings from Westminster Cathedral on the Signum label (Brahms, Wagner & Dupre) it would be interesting to know whether the sound of the organ as found here is as good as it is in the building without the advantage of seemingly quite close and high up microphone placement etc. To me these CDs are sonically (including of course the playing) quite splendid - lively pedal reeds, masses of orchestral colour, lush foundations, fairly 'up front' chorus voicing and a quite steely brilliance to the upperwork. In fact the Great Mixture seems to come on with a real punch - the whole thing being quite unlike any other Willis III of that era that I have come across. I have not heard the organ 'live' since I was a teenager and mainly since then only as a backing to the choir but would be interested to know what those who know the organ well and may have heard these CDs might think. http://signumrecords.com/catalogue/sigcd089/089Booklet.pdf AJJ

Thanks for all this info. AJJ

Victimae Paschali Laudes from 3 Plainsong Settings by Jacobus Kloppers (S. African composer/academic now living and teaching in Canada). It's a really effective piece - quite astringent - 'heard it at the end of a Radio 3 Choral Evensong from S. Africa some years ago - contacted the composer and he very kindly sent me a copy and a CD of his own performance from a Canadian Radio broadcast. AJJ

And if like me you play quite a lot of music from the 17th/18th century French repertoire then 8' and 4' reeds plus Cornet registration is a real necessity even if one has to 'fudge it' somewhat. Willis I Great reeds work quite well for an 'Anglo' version of this - try St Gile Cripplegate in London's Barbican where Mander managed to unite two such with a newer Cornet in the 1970s - it's quite electrifying! AJJ

There seem to be some interesting trends here - some seem to want fairly 'classical' ('can't think of another term for it) stoplists - rather like expanded continuo organs whereas others see things differently. There is a house organ somewhere in the US (maddeningly I can not find the details) with nothing above 4' (a Harmonic Flute), a couple of contrasting 8's on the two manuals (one a TC Principal) and a string - all enclosed on mechanical action. I seem to remember also an Oboe and a 16 pedal stop of some sort. It all looked a bit like a French 'Choir' organ. From this one can get basic solo/accompaniment resources. big/small effects and it can all shut down nicely with the swell box - consideration for neighbours etc.! I personally could live with something like this - dare I say it perhaps more than something more 'perky' - especially in our current housing situation and keeping in mind the sort of music I would want to (and perhaps more importantly not want to) play on it. AJJ

Thanks for this - interestingly the Ericsson CD looks to have quite an appeal with the other music also included. AJJ PS I may be wrong but I have a memory from somewhere that the Worcester recordings were made on the digital device. PPS The opening remarks on the 'Pipedreams' programme nearly had my wife carted off to casualty!

I've just encountered these miniatures and must admit I rather like them - does anyone know of an available recording? AJJ