Paul Morley

His own Toccata is also to be heard as a part sample, and this too is very interesting and exciting, but fiendishly virtuosic by the sounds of it. Splendid! I think that I detect shades of Naji Hakim. This has set me thinking of stylisyic influences that might come to bear on composers from Eastern Europe and the Middle East, through the traditional music of their respective cultures. Anyone out there looking for an idea for a PhD?! Many thanks for supplying the link, MM.

Awesome! Puts certain other net circulated perfomances, improvisations and compositons into perspective. However, I'm a little alarmed by the fact that the website gives the impression that he is playing Widor VI at Sion. That I would be interested to hear!

Come to think of it, as you can see the resonators from the nave floor, they must be arranged horizontally or at least at an angle. Otherwise they'd have to be wound round like a french horn to fit into the space.

York: I am fairly certain that the Tuba Mirabilis is not horizontal - but vertical. The pipes are, I believe, hooded. Are you certain? I seem to remember an old photograph showing the stop being attended to by a tuner. I'm sure that the resonaters were set at an angle, rather like artilliery pieces. In any event, if you stand about 1/3 way down the nave, the tops of the pipes can be seen between the bottom of the case and the top of the screen. No doubt Hill's original chamade was more elegant!

I wonder what CMW would have thought of David Willcocks' "Sing"?

Certainly did. My then fiancee's comment on the matter was, "Just as well I didn't let you have 'Transports de joie'".

...With more than 2,600 pipes... So there's a 40 stop 3 manual in there somewhere?!

I had an exchage of views with the printer just before our wedding. We exited to Vierne 1, last moemvent (played superbly and not 're-interpreted in any way). When we received the proofs of the service sheet, 'Final' had been changed to 'Finale'. I ammended this and sent the proofs back. They returned with the 'e' put back in. At this point I rang them up. After having tried to explain that there was no mistake and that the word in question was French, not Italian, I was told, 'I think that you'll find that there's a 'e' on the end when it's used as a musical term'. I know that there is something deeply unattractive about pomposity and superciliousness, but sometimes you just have no choice.

Touche

Touche

Honest, it happened! Amazing! I don't doubt a word of it for a second - I'm an ex-cremmer myself.

...although I shall refrain from telling the best one, as no-one would believe it! Oh go on!

I can't think of anything more depressing than playing Bridal Chorus and Wedding March three times in the space of an afternoon.

OK – here goes…. Pedal 1 Open Wood 16 2 Open Diapason 16 3 Sub Bass 16 4 Principal 8 5 Bass Flute 8 6 Fifteenth 4 7 Mixture * 8 Trombone 16 9 Trumpet (Gt) 8 i Choir to Pedal ii Great to Pedal iii Swell to Pedal iv Swell Octave to Pedal Positive 10 Gedackt 8 11 Principal 4 12 Flute 4 13 Blockflote 2 14 Larigot 11/3 15 Sesqialtera II 16 Mixture * 17 Clarinet 8 v Tremulant vi Swell to Positive Great 18 Violone (lowest 12 haskelled) 16 19 Open Diapason 8 20 Stopped Diapason 8 21 Salicional 8 22 Principal 4 23 Wald Flute 4 24 Quint 22/3 25 Fifteenth 2 26 Tierce 13/5 27 Mixture * 28 Trumpet 8 29 Clarion 4 vii Positive to Great viii Swell to Great ix Great &pedal combinations coupled Swell 30 Bourdon 16 31 Viola 8 32 Voix Célestes (tc) 8 33 Hohlflöte 8 34 Principal 4 35 Harmonic Flute 4 36 Flageolet 2 37 Mixture (17.19.22) III 38 Contra Fagotto 16 39 Trumpet 8 40 Oboe 8 x Tremulant xi Generals on Swell footpistons Accessories 8 adjustable thumb pistons to Gt, Sw, Gen 6 adjustable thumb pistons to Pos 8 adjustable foot pistons to Ped, Sw Reversible thumb pistons to Pos-Ped, Gt-Ped, Sw-Ped, Sw-Gt, Reversible foot pistons to Gt-Ped, Sw-Ped, Sw-Gt, Trombone Notes § This is not an entirely hypothetical scheme and should be seen as a radical rebuild of NPOR N04318. ( http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N04318 ). This organ can best be described as an occupational hazard (although accompanying the choir week by week is a great privilege). It’s not completely had it, but a combination of ill-considered tonal alterations two badly executed rebuilds have left it a bit of a mess. § The organ would have a vertical(ish) disposition. It would occupy the same site as the present instrument, freestanding in the transept. § The Positive would be in an oberwerk position. The Swell would be behind the Positive and above the Great. There is sufficient height for the Pedal Diapason to be placed in the case at impost level. § Tracker action would be possible, except for the Open Wood. I’m assuming that Great reeds could still be placed on higher pressure and Great Trumpet copuld be transmitted to the Pedal. Please advise. § If e.p. action were employed, expense could be saved by some Pedal extension, Swell octave/suboctave couplers could be included and the Gt reeds could be made playable on the Positive. § I’ve left the Ped, Pos & Gt mixture compositions open to debate by greater minds than my own. The Swell Mixture’s purpose is clear to all, I‘m sure § I tend towards the view that if there is only space for one 4’ reed it’s more useful on the Great. Again your views on this are most welcome. § The Trombone should not be too dominating. § The Swell Bourdon may be a bit controversial. I do believe that a quiet manual 16’ is useful for accompanying. Having this on the Swell means that the Great double can be more assertive. § The Swell Viola should be quite bold so as to be usable as a foundation stop. If this makes the Celestes more like a Voce Umana, so be it! § Great mutations should be quite fluty, but have an effect in the chorus. § Please note, if anyone rubbishes my scheme, I will take it like a man and not resort to abuse (!).

Bollocks to the congregation TALKING over the organ! I once arrived at a chuch to play for a wedding to be buttonholed by the photographer demanding that I "don't play too loud at the end, 'cos I can't hear myself think if you do". Although I did not speak to the gentleman in question after the service (my cheery wave being greeted with a scowl), I am reasonably confident that the organ (another nice old Hill; N02068 to be precise) being played flat out was sufficiently audible to all concerned.

There is also a village called "Little Peeover" in Cheshire! There are, in fact, several Peovers (pronunced 'Peever') in this part of Cheshire - Lower, Over, Superior, Heath. The organ in Lower Peover can be found below http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N00689 Cheers Paul

I think can an Open Wood 16ft can be useful, But it would be very distracting if used in the long held pedal note 'A' in the Prelude & Fugue in A by Bach I sort of agree, however there is a 'courses for horses' argument. In the late '70s i heard a stunning recital by Francis Jackson at Rochdale Town Hall. This organ (NPOR N01507) is everything that you would expect a 1913 Binns in a Northern Town Hall to be - and wonderful for it. FJ commenced his recital with JSBs A minor Prelude & Fugue (can't remember BWV either). The opening registration was a somewhat menacing closed Full Sw underpinned by Pedal Open Woods 32, 16 & 8. The effect was electrifying.

[quote=pcnd5584,Jan 18 2006, 11:17 PM] Indeed - I had forgotten about this organ. There are some excellent recordings still available which Michael Howard made on this lovely instrument. On the subject of C-C (or Mutin) in this country - does anyone know whether the large (five clavier?) C-C is still in Manchester? I believe that it was in the Free Trade Hall. If so, is it playable - or has it been neglected? Any information gratefully received. [right][snapback]5346[/snapback][/right] [/quote] C-C (with dodgy Wadsworth/Jardine additions) in Manchester Town Hall alive and well, but not used much. 4M+P 20 rk Wurlitzer formerly in Free Trade Hall now in Stockport TH Regards Paul.

I have tried N10819 - it looks to be quite reasonable. I was thinking more of the tragic state into which this organ has fallen.

I can confirm that St George, Preston is indescribably glorious, and VERY French. For my money, it's a more exciting instrument than Preston Parish Church (NPOR N12477), despite the latter's historical significance. On the subjcet of unaltered organs by FHW, I suggest, if you can bear it, that you you look at NPOR N10819. Cheers, Paul.

The worst organ in the world? The Orgue-de-Choeur, at Chartres Cathedral. I know what you mean. I took my school choir there a couple of years ago. We ended up getting the clavinova out of the bus. Still, the other organ in the place is quite fun, is it not?

Many thanks for this, Paul.

I once played a bride in (at her request let it be said) to the theme from 'Star Wars', and another to 'Lady in Red' (it was during the 80s). From the ridiculous to the sublime, does a realisation exist in print of a Cochereau improvisation on 'Alouette', or have I dreamt this?

For my money, the best (and if you don't send it up also the most moving) way to play 'Amazing Grace' is is: 1) Add tremulants etc. and do your best to turn your instrument into a hammond. 2) Play VERY slowly in blues style with appropriate added note chords and RH improvisation. This also works for 'What a friend we have in Jesus'.

How about giving the Alexanra Palace Willis a similar continental home? I'm just off to shoot myself to save anyone else the trouble!