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At the risk of stirring a hornet's nest ... surely, the Neopolitan chord at bar 285 cries out for a cadenza. Ian

One eminent current Cathedral DOM claimed around the time of his appointment never to have played a note on the organ. Ian

Didn't Andrew Lucas give a first-hand account somewhere on this Forum? Ian

And "Bristol Suite", based on the same tune and published by Novello in 1977.

I think I'm responsible for introducing the notion that metal pipes are more expensive than wooden ones. I really don't know, and I was just making presumptions about the costs of material and labour. I guess the expert answer would be on the lines of "It all depends on ...", but is there a rule of thumb answer to the question of which tends to be cheaper? Ian

Flor Peeters' Op 74 is a "Concerto for Organ and Piano". Years ago, I lived in hope of finding a pianist who would play it with me but it never happened - and now it's much too late! Ian

Wouldn't it be because metal pipes are much more expensive than wooden ones (aren't they)? Ian

It's a Hinrichsen publication (it says No. 355 on the cover). It has the first movement of the Pastorella, the Jig Fugue, and the Fugue on a theme of Corelli. Ian

I've long thought that the organ contribution to the last variation of the Enigma is an aspect of the self-portrait. Ian

I once, as a teenager on an organ crawl, found myself seated at the console in Ampleforth Abbey. I played the first few notes of BWV564, then I heard the first few notes of BWV564, then I gave up! Ian

I agree entirely with Colin. But what really annoys me is the sound of a harpsichord jangling away in Bach's church music. It should surely always, always be the organ. (Lights blue touch paper and retires to a safe distance.) Ian

I too thought - somewhere in the depths of my memory - that it was only the outer sections that derived from the wedding march, but when I checked I found the Little quote above; it's not my field, but his introduction in the Novello edition certainly suggests that he knows what he's talking about. Either may, my question remains: what on earth was Mendelssohn thinking about when he combined a wedding march with a penitential chorale? Ian

I wonder if anyone has any theories about something that's puzzled me for years. Little, in the preface to his Novello editions says of the first movement: "The final version of a work written for performance at his sister Fanny's wedding in October 1829". Certainly the outer sections would make a decent Wedding March, but how do we explain the first fugue, which has in the pedals the tune which in Germany is sung to a metrical setting of Psalm 130 - "Aus tiefer Not schrei zu dir", or, in English, "Out of the depths I cry to thee"? Surely not Mendelsohn's idea of a joke, but wh

That'll teach 'em for removing Vierne's console! Ian

Jonathan The Duet is by Samuel Wesley (son of Charles the hymn writer, brother of Charles the organist, and father of Samuel Sebastian). The BACH motif lurks here and there in the Fuga, which - unless someone knows better - is surely a first in English organ music. Ian