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I believe this is some of the best, most clear headed advice I've heard in a very, very long time.

About low pressure reeds: I've long thought that the Hill formula of flues at 3 - 3 1/2 and reeds at about 5 inches represents an ideal. Tubas could be 10 inches or more. I like the Southwark set-up w/ the whole job on a moderate pressure plus a couple of HP Solo reeds. Heard that little Trumpet that HWIII put on the Choir Organ at Salisbury. It's a beautiful job of voicing & just the right thing in terms of the whole job.

I like 'em.

Pierre: With great respect, that is the most revolting sound I have ever heard. Never a fan of unit organs, but I'd take H-J any time over that noise. Karl Watson

Who ever said ANTHING about enormous volume and the big Skinner at Yale? It is an instrument of infinite nuance and color, mostly in the range from ppp to f. Yes, it does have a truly earth shaking fff potential, but that is NOT what makes it truly great. There are no stops and pressures as you describe. As for quality, if there was ever a European builder that approached the quality of the Roosevelt, Treat, Skinner, AEolian and Kimbal firms, it was Cavaille-Coll and only Cavaille-Coll. If you were to view the interior of the Yale organ, it would take your breath away. EVERYTHING about that instrument defines the Art of Organbuilding.

Anyone who has heard the big organ at Yale would never say that.

Alastair: Thank you for asking ! The builder is Burton Tidwell. There will be very complete Gt, Sw & Ped w/ a kind-of Ch cum Solo as the third manual (16,8,8,8,8,8,4,4,IV,16,8,8). We are anticipating a good result. The acoustic is excellent, w/ good response across the scale. The open location on the West gallery really gives things a leg up. The former job was a neo-classical werk-prinzip attempt by a distinctly second rate American builder. But - it came off much better than it should have because of its excellent position and the fine acoustic. One wonders what was on the incumbent's mind, installing a Lutheran organ in an RC church. Even the case design, very Backerath-like, w/ 16' towers and a Kronpositiv up at the top of the case just a few feet fr the vaulting, didn't fit the very Romanesque building - never in tune & useless as a third manual. I saw the whole thing removed through my study window & good ridance. Kept a very nice 4' Nachthorn. That's it. If I'm not too mistaken, John Scott is experiencing something similar at St.Thomas Church. Over a hundred stops & one swell box. Madness. Will keep you posted if you are interested. Karl Watson

an excellent idea, Richard. Karl Watson, here, from Staten Island, NY, USA. Educated at the Curtis Institute & in Paris w/ Marcel Dupre. I am 56. In some thirty-seven years, I've held non-conformist, Lutheran, Anglican & RC appointments. Every church has been a peach with not a single clergy stinker. I'm now the Music Director of St. Raymond Nonnatus RC in Parkchester, NY, a really lovely situation with a fine new three manual (four celestes, Tuba & 32' Reed) whose installation began last week. From my perspective "over here," I find many young pupils with superb technique but almost no players who can play a succesful service or Mass. Good legato seems to be in short supply, as well.

I always try to pick something that is on the light side, not loud. I've played the Schumann Sketch in D-flat or the Yon Primitive Organ. My favourite is a little trio on Jerome Kern's "All the Things You Are" by Billy Nalle, the late Americn theatre organist.

One is loathe to second Mr. Curley in anything from the time of day to the local weather, but I agree that Westminster Cathedral is No.1 in GB. I find it interesting that Lynnwood Farnam considered Liverpool Cathedral to be tops, and that was before the nave was completed. It is so very much the thing to thumbs-down HWIII. But the fact remains that one has a better chance at playing the repertoire on one of his (HWIII) jobs than on an Arthur Harrison, as sublime as his organs are for playing Stanford in B-flat.

I'd like to put in a good word for the f-minor sonata. I think it's no.7. My copy is the Harvey Grace edition which is filled w/ excellent advice. It's a really marvelous piece, w/ beautiful tunes just everywhere. Feels good under the fingers, too. E.Power Biggs used to ply it. Suppose he must have studied it w/ G D Cunningham. Karl Watson Staten Island, NY

FABULOUS BRAVO, RICHARD! Wonderful tempo. If you young people get any better, I'm going to have to start taking your pieces out of my repertoire. Once again, congratulations on the really beautiful work. Karl Watson Staten Island, NY

I would have to agree that nothing comes to mind that is quite as bad as the IVES Variations. Foul. Absolutely FOUL.

Dear Graham Powell: The fact that you kept on & did NOT give up or let fly w/ protests says something about the legendary good manners of the English. I have a very nice job (oxymoron?) in a RC church. The rubrics say NO solo instrumental music for memorial Masses, funerals or during Lent. Nevertheless, I do play for about 5-10 min before each Mass (repertoire) & improvise for about 30 sec on mp foundations after Mass. What do you think? Am I doing right or wrong? Needy American

Yr humble servant was moved to explain the facts of life to him. His website has one of those "contact me" features.

I want to assure my friends here that the American standard of organ playing (not to mention mental health) is generally much higher than this disgrace. One is reminded of the Emperor's New Clothes. Karl Watson, Staten Island, NY

Unless things change, and change drastically, I will allow my subscription to lapse. In one fell swoop it has lost everything for which it enjoyed such distinction. Paul Hale created a "Golden Era" for the magazine. It would be hard to imagine a finer journal for professionals and students alike. Every issue seemed to be imbued with an almost rapturous love of the instrument. I am afraid we may have a long wait for the rapture of the moment to return.

AMEN! AND AGAIN I SAY, AMEN!!!!!!!!!!!!!!

I think that you've hit the nail on the head, Lee. These bear the unmistakable flavour of Sauce La Bournais - adolescent nightmare.

Why be sorry? I'm sorry that he that cannot be named has ruined these discussions with his infantile and insipid posts.

Quite right. The stevebournias specs have their own distinctive odor of postpubescent wretched excess.

Find that I agree w/ ALL (save the DG/Preston) of Jeremy's choices. I too have been waiting patiently for these favourites to come back. The Kynaston recordings, esp. those fr Westminster Cathedral have a special place in my affections.

W/O offending anyone, I would like to put the greatest possible distance between myself and the comments of a certain Mr. Steve Bournais. Not only are they patent nonsense to any right-thinking person, his views are certainly NOT shared by the church musicians of the US. We have, and will continue to look to England for the brightest and best in church music. The standards achieved in Britain w/ a fraction of the resources (money) common in the states is something to be admired by one & all, not to mention CHERISHED. Karl Watson, Staten Island, NY

One dislikes stressing the negative, but I found this last issue more than disappointing. What a difference now that Pale Hale is gone.