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ajsphead

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About ajsphead

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  1. Anyone with access to a copy of Laurence Elvin's book Pipes and Actions with find some useful detail about the instrument, written with assistance from Roger Taylor.
  2. It was Roger Taylor, ex R&D local rep who looked after it until he retired. With Julian Mcnamara as DoM I don't foresee any worries about the instrument.
  3. How wonderful if this was the case in the UK. Unfortunately many of our instruments in larger buildings simply do not possess the ability to roar down the main axis of the building and flood the space with sound. Our European and U.S. brethren seem to be far less regularly afflicted. It's always possible to use fewer stops, but once you've maxed out barring the Tuba that's about it.
  4. Stainer & Bell edition page 4 bar 1 RH written E flat ?should be E natural but at the end of the same bar E natural is annotated. Every rendition I have heard plays the first E as E natural. Thoughts please.
  5. Perhaps this image will help Just as I would expect it to be for the period.
  6. Voice and gesture commands already exist and are in mass production as part of the "infotainment" system in a number of premium German cars. A trawl of the internet suggests that they are still not entirely successful. With voice commands unless the organist was wearing a microphone i suspect that the sound of the instrument might corrupt the vocal data reading. An innocent conversation happening behind you could also lead to some very interesting registration changes.
  7. Whilst there are a number of aspects to consider within the debate, not least of which is a perception of musicality which is undoubtedly subjective but also emotional, one small but I think key factor was almost brushed over above. The comment about the Oxford college being unaware of it's use of an unequal temperament. When pinned down to absolute precision, equal temperament is a mathematical exercise, sometimes reached by accident when tuning but very regularly approximated to and identified as such, actually erroneously so. All temperaments are like this to some extent and by existe
  8. Not all congregations are as unaware as we might think. I recently transported my 1 rank 85 note continuo organ to our local catholic church which has never had an organ. It's a small building perhaps seating 120. There have been numerous electronic organ simulations there over the years but each person that spoke to me commented how different a real organ sounded and how much they preferred it, including one Polish lady, a trained pianist who believed she had an almost pathological hatred of the organ. She admitted that she would now have to re-appraise her position.
  9. Seeing this reminds me whether St Paul's is the only organ with an en chamade 32' reed on the pedals.
  10. Indeed. Having had the pleasure of playing and maintaining a couple of Comptons over the years, they are very cleverly and solidly manufactured. We should remember that in some of Compton's advertising literature the firm were proud to announce that Comptons were not cheap organs. The skill of those men has I think been tarnished by poor practitioners using the same principle but without an ounce of the ability. As a by the by, I recall reading that some of Compton's reeds were voiced by Billy Jones, and I agree that there are very fine. Having heard many of their instruments, I am yet to
  11. My congregation although small, like about 5 mins but don't mind a bit more. What matters to them more is whether they can enjoy or appreciate the music. Sadly much of what I want to play doesn't fall into that category like a larger scale JSB Praeludium played on beautifully clean 8 & 4 Principals which just doesn't cut it for them. A corresponding Fugue delivered in the late 19th / early C20th style however goes down really well and coffee cups are always put down to give me a short show of appreciation. The congregation love their organ and are proud of it despite it not being very
  12. I believe that Compton's were chosen by the BBC for the installation in broadcasting house because of the luminous light touch stop controls. They create no noise when operated. I am struggling to understand the link between luminous stop heads and problems for partially sighted organists. Some help from partially sighted concert organists who have to familiarise themselves with a variety of instruments and would have a well established technique for doing so might be helpful. In short, it seems to me that if you can't see the stop heads then whether they are illuminated or not doesn't r
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