john carter

Post deleted. Temper tantrum over. JC

Nigel, Thanks for the reminder about Mendelssohn's own words, which I have seen before, and your insight into how to interpret them. I see how necessary it is to be confident and adapt one's approach according to the instrument you are using. Your "wrinkle" about assessing the polyphonic qualities is indeed a most interesting and revealing test. Incidentally, you will be pleased to note that I would never use a Tuba in Sonata No 3, though I might admit to a Trompette Militaire ... JC

Thanks for the wise words and re-assuring advice, Paul. As you suggest, every instrument is different, so it's better to trust your ears rather than the printed page. JC

Huh, amateurs! I'm feeling a bit silly now. Having engaged my brain and ears this morning, the problem turned out to be as much with the pedal registration as the manual 16. Having lightened the pedal, it all sounds closer to what I was aiming to achieve. Either Gamba or Salicional coupled suboctave from their respective departments to the GO work well and much better than the GO's own Bourdon 16. Thanks for the link, Pierre. It sounded depressingly familiar and just what I was trying to avoid. Hopefully, I have now found the right balance. JC

Running through Mendelssohn's 5th Sonata last night, I had difficulty deciding how to register the opening Andante. The score indicates "mit 16" for the manuals, but every option I tried just sounded muddy to my ears, even using a double string which blends easily in most circumstances. Of the recordings I have, none sounded significantly better. I hate to ignore something clearly indicated in the score, but it just doesn't sound right. Is it just me, or does anyone have the same feeling? How do you register this movement? JC

As a former "oily rag", I know my place, so won't enter the argument. However, anything that helps to make the genuine pipe organ more affordable must be worth considering. VH, I sympathise with you about your car; I know the feeling well. Then I think back to my lovely old Austin 10 and the need to take hot water bottles and rugs when setting off on a winter journey and decide that modern cars do have some advantages. JC

I think your apparent view, that modern science and engineering has nothing to offer "art", is very short sighted and if Downside Abbey is an example of the worst thing ever to happen to the pipe organ in Great Britain, we must be a very fortunate nation indeed. JC

Thank you for the link, Michael. It's more complicated and interesting than I had realised. JC

I refer the honourable member to the answer I gave earlier... The pedant is off duty for the weekend. However, I agree that "learnt" is an acceptable, chiefly British, corruption of the past tense. JC

Having had time to look in the books (the builders are in - with vacuum cleaner en chamade!), I learned something new. It is Queen's College, Oxford but Queens' College, Cambridge. I am delighted to note that NPOR has it absolutely correct. You will now be pleased to hear that I have put my pedant's hat away for the weekend. JC

Then perhaps your colleague should proof-read the third edition (1996) of The New Fowler's Modern English Usage, published by OUP, that states; "Though once commonly used in the plural of abbreviations, the apostrophe is now best omitted in such circumstances". 15 all? JC

Reluctant, as I am, to enter this discussion, a brief look at Hart, Fowler and Truss suggests that the use of the apostrophe in the plurals of abbreviations and numerals was commonplace until recently, but is now thought best omitted. This, presumably, is part of the same ink and paper saving strategy made into a fine art by music publishers. JC

Pierre, May I join others in welcoming you back to this forum. You have certainly given us plenty to think about in this post! JC

I sense a nest of hornets or, if you prefer, a can of worms here. I would normally use the designation C4 for middle C and the designation C7 for note 61, but I realise there are a number of other descriptions in use. Does the organ industry currently have a preferred system? JC

I have always described Pedal Mutations and Mixtures based on a 16' series i.e. a Twelfth is 5 1/3' and a 22, 26, 29 Mixture is 2', 1 1/3' and 1'. Am I correct in working this way? Someone has put a doubt in my mind by suggesting a Twelfth is 2 2/3' whether it is on manual or pedal. Which is correct? JC

I was looking for the details, but for some reason I can't locate this instrument on NPOR. I've probably entered something incorrectly. Can anyone help please? JC

It isn't perceived by me, but as a former 'cellist I wish I could change your mind. JC

What a shame MM, I thought, with the earlier references to horsepower, that you were going to propose a horse powered blower! Mind you, it would be worth a visit to the betting shop if you could find one to keep running right through the Reubke. JC

I think I see an important point here. Why is a tuner/technician turning up to a completely unknown quantity? If I book my car in for a service, I give the garage some indication whether it might need a new tyre or a new engine. How else can they schedule an appropriate number of men and time to deal with the job? Surely in requesting a tuning visit, it is only reasonable to give the contractor some idea of the work required. Beyond that, I am in favour of an agreed hourly rate for the time spent on the instrument plus parts. All other overheads should be rolled in to that hourly rate. JC

Thank you David, I begin to get the idea. I tried In Dir ist Freude last night, but lacking a Zimbelstern I dusted off my somewhat stratospheric and rarely used Cymbale to top the chorus. It succeeded in annoying the neighbour's dog but did have a cheerful tinkly sound. JC

It is probably an alarming gap in my education, but beyond being an attractive accessory, I have never understood the reason for a Zimbelstern or a situation where it would be useful. Please can you enlighten me? JC

For those with less than perfect sight coloured text can be a nuisance. Logical layout and clear labelling is far more important if the intention is to help visiting organists find their way around. JC

Thank you acc, yes my mistake, it was composition he studied with Widor, wasn't it? JC

Out of interest, I have just put a metronome on an early Marcel Dupré recording at St Sulpice and at around crotchet=115, it certainly doesn't sound too fast. I am sure, as pupil and successor on this instrument, Dupré would have been aware of Widor's opinion on the correct tempo for the Toccata. JC

Nigel, you have a wonderful way with words as well as music! You have gone right to the heart of the issue. John C