john carter

I didn't mean to imply that there is no use for a Nazard on the Swell, just that personally I would prefer to retain the Vox Humana for everyday use. As for the Octavin rather than a Tierce, it's personal preference again. In my teenage years I used an instrument with no mixture, but an 8 4 2 1 chorus, and I still like the clarity of that sound. JC

Quite correct, it was late when I posted and, it seems, I missed the point. It isn't clear whether there is still a plan to have a 1' flute on the unenclosed choir, but I would opt to put that on the extra chest in the swell at least for now. JC

No manual extension. It's a matter of principle, really. I feel a new topic coming on. Why is manual extension any worse than using octave couplers? At least you can choose to include or exclude an individual extended stop rather than the "all or nothing" you get with the coupler. Intelligently designed - and used - I see some positive benefits in extension, even on the manuals. JC

It isn't just a daylight bulb that's required, it is a very bright wide spectrum light source. John Lewis have them for domestic use - as do major chemists such as John Bell and Croyden. JC

I think we are missing the point here! Cynic has - at least - sixteen stops on the swell, all of which can be used at the big console. However, we were invited to suggest which 13 of the 16 should be chosen to appear on the small console, this being the limit of its piston system. I agree with earlier suggestions that the Fifteenth, Nazard and Septième could be omitted from the small console, knowing that they could be accessed from the large console if a particular piece requires them. I would be interested to know the composition of the swell mixture. JC

Thanks, Bazuin. I have a marginal preference for the Heiller both in terms of the performance and the sound, but then I have become a hopeless old romantic! From what I had read, I expected the Marcussen changes to seem much more extreme. However, it sounds magnificent in the 1965 recording and just as exciting as I remember it to be from that time. It is interesting to see how my opinions - and probably my ears - have changed over the years. JC

It was a busy week. I don't remember these links and cannot find them, please can you tell me the topic name and post number and I will listen. JC

That's probably what they said to John Compton when he invented the polyphone! JC

I'm surprised that you didn't get a bigger response to this one, Stephen. As a Franck-ophile, I am hardly going to disagree. Perhaps not every organ work was great, but Prière and Fantaisie in A are top-notch as far as I am concerned. I think there are other examples of great organ music by other composers, but then how does one define great? JC

Funny, I thought that less than 24 hours ago you were saying that the Trinity Wall Street Organ sounded "horrendous". Now you seem to be searching for other excuses to rubbish it. Many restored organs may have material from several different sources. How is this different from using a variety of samples? The craft is choosing what works well together. With half a century of experience with electronic instruments, I would say that the M&O is the best I have ever heard. I accept it's still not the same as a pipe organ, just as a CD of the Lindsay Quartet is not the same as hearing them play live, but even so it is quite acceptable. It is also put together by real people who care about their work and have feelings. Please, before you start chucking stones at things someone has told you you shouldn't like, make sure you aren't standing in your own greenhouse. And please have some consideration for others you might hurt in the process. JC

You started in the right place. Now click on Conservatory Stars Festival near the bottom of the page and then scroll down to Paul Jacobs. He might not be Roger Fisher, but he doesn't do a bad job and as a method of showing the wide range of voices on this instrument, this clip seemed an appropriate choice. JC PS It's worth hooking your computer into a decent sound system to hear this.

May I suggest that you and your youngest son have a look at www.trinitywallstreet.org and find your way through to the organ pages. Drill down to find Paul Jacobs, head of organ studies at the Juilliard, playing Reubke and listen. When you have done so, come back and tell us if you still think it sounds horrendous. JC

Try Laukhuff, you may have more success. JC

Sorry, off topic, but can anyone direct me to information about the organ at Trönö. I have failed to find a specification and the Peter Collins site doesn't refer to it at all. JC

As an amateur, I'm not really qualified to advise, but having tried it this morning with Gareth's suggested scheme and Alastair's recommendation to add the Swell Octave, it sounded fine. Of course every instrument and its acoustic is different, so I suspect it will need some experimentation, but Gareth has set a good starting point. JC

Given that t' birds fly back'ards to keep t'muck out o' their eyes, I doubt t' washing would be very clean if tha left it aht! JC (from Back o't Muin)

I think the parish are expecting too much. A seventeen year old car of comparable cost to the electronic is equally likely to have mechanical faults through wear and tear and will certainly have outdated technology compared with today's models. A car purchased for a quarter of a million pounds seventeen years ago might reasonably be expected to have a longer life. If an electronic organ is all that a church can afford, they must plan on the basis that it will need to be replaced within twenty years or so. JC

Not boring, Alastair, just sensible! JC

Then you must do so! For me, it is Widor's finest. I first heard Dupré perform it when I was about thirteen and I had no need of anything sweet to reward me, it was totally spellbinding. There is no point in comparing it with Reubke - the two are entirely different propositions, like Marmite and Caviar if you wish to continue the food analogy. I happen to like both, but not at the same time. JC

I always feel it would be a good piece for accompanying a silent film. A bit of menace, a chase or two and then a tender romantic scene to finish. Aaah! JC

I found the Warner Brothers version of Sym 1-5, ISBN 0-75799-464-4, more up to date than the Dover edition and similarly good value at £10.99. My copy came from Chappells. I haven't got the Warner version of 6-10, for which I use the Dover edition with various amendments pasted in. I must try again to find it sometime. JC

Unfortunately, this is one of my specialist subjects. Anything that has asbestos that is crumbling or shedding fibres is dangerous and needs removal or encapsulation by experts. It is a very expensive process, but the risks make it too serious to ignore. Air tests are relatively straightforward and will quickly indicate whether urgent action is required. I know of people who have suffered horrible deaths as a consequence of this material, please do not ignore it. JC

Thanks Paul, I can't find the original either at present. I am pleased to learn that the shutters have been re-instated and improved, putting the choir division back under expression. JC

I'm saying that great music has no need of laser phasing any more than a great photograph needs a Leica. The art comes from the user, not the engineering. Minor imperfections in an instrument often add rather than detract from its charm. JC

I think you have just defined the difference between science and art. In a cultured civilisation, each has its place. JC