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Clarabella8

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About Clarabella8

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  1. I was listening to someone on the radio over Christmas making predictions for the next decade, one of which involved the imminent explosion of virtual reality experiences. Before long, they said, virtual reality in certain areas of life will be better than the actual reality. In this respect, one might argue that the organ world is ahead of the curve. Using the kind of software of which most readers here will be aware, one can play some of the finest organs in the world from the comfort of the living room (or garden shed, in my case) with absolute ease and convenience. Given that the near
  2. The architect George Pace designed quite a number of organ screens in the 1960s and 70s, most of them being of the sort you describe. They often incorporated a variety of elements of different heights, widths and sometimes colours that can make them quite interesting to look at, compared to the more bland and regular examples from the inter-war period.
  3. Thomas Dallam’s famous organ for Sultan Mehmet III included a ‘shaking stop’ in 1599. Later on, Christopher Simpson, in ‘The Division Viol’ (1659 if my memory is correct..?) described a ‘shake or tremble with the [viol] bow’ that resembled the ‘shaking stop of an organ’. Thomas Mace (1676) and Roger North (1724) also likened this bowing technique (which I imagine is the ‘tremolo con l’arco’ technique of varying the pressure of a single bow stroke) to shaking organ stops. Organs used with viols would have been chamber consort organs, but I’m not aware of any survivals of tremulant mechanisms on
  4. Wren's design for his St Paul's Cathedral organ cases originally incorporated vertically sliding sash windows over the pipe fronts that protected the organ when not in use. Some of these survive in the works department, according to Plumley and Niland's history, which illustrates them. A similar arrangement was seen in the 17th century consort organ known as King James's Travelling Organ, sold to a buyer in the USA in the 1920s (by which time the sashes were missing) and now of uncertain whereabouts. The organ with the sashes intact is illustrated on p.275 of Boeringer's Organa Brittanica vol
  5. I'd like to buy some of the latest publications from PP but their website is blank, despite promising an update for some while, and the email address published there bounces back. Not ideal for promoting their products! If anyone knows of an outlet that stocks their books I'd be most grateful for the contact details. Many thanks indeed.
  6. Further to which, I see now that the gravestone inscription is misquoted in the version of the Dictionary of National Biography that I consulted: it actually says that Robert was the son of Thomas etc etc from Lancashire. So presumably he died in Oxford. Clarabella
  7. You may know that Robert Dallam is buried at the west door of New College chapel, Oxford. His gravestone records that he died in Lancaster on the last day of May 1665 at the age of 63. Given that he was not, as far as I know, a resident of Oxford, nor an alumnus of the university, does anyone know how he came to be afforded this honour? Obviously, the Dallam/Harris family undertook a good deal of work in Oxford, including Robert's organ for New College chapel in 1663 and (probably) the chamber organ later bought from the College by Sir John Sutton which is now in the possession of our host, bu
  8. I may soon be in the lucky position of commissioning a new organ for a prep school. The main function will be to accompany some 200 mostly unbroken voices in congregational singing. The chapel is quite dry when full. My experence hitherto has largely been of mixed adult voices, so I was wondering if anyone had any views or experience of the sort of tonal qualities that would best suit this particular circumstance? Space and budget would allow for about 6/7 stops, so there's not much room for manouevre on the stoplist, but I would be interested to know, for example, what style of voicing of
  9. Many thanks Philip - your mention of the website triggered a memory and I realised I already have a printout of the list in a dusty folder - I must catalogue my stuff! It was compiled by GF Howe in 1994. No mention of 'my' instrument though, either in its present or previous location. Clarabella
  10. I came across a reference in the NPOR to a catalogue of the organs of TS Jones and was wondering if anyone might know if this has been published in any books or journals in recent times? I am about to 'inherit' a little TS Jones in the chapel of my new school. It's a St Cecilia model with one manual and F-f3 compass. It's pleasant enough, as far as it goes (which isn't very far). A local builder has recently added a pedalboard, which might have been a good idea had there been sufficient distance between it and the bottom of the keyboard: as it is, I will have to attempt to play with my leg
  11. I've played the organ part to several choral works with orchestra on the Chichester Allen when the chorus and orchestra were set up at the west end. It is indeed a 'good' example of an electronic of its vintage, but in the way that, for instance, blood-letting with leeches was a 'good' example of medieval surgery. Thinking of relics lurking in churches and cathedrals, there are a number of fascinating bits and bobs of organs and consoles in other places too. Some that spring to mind include the pre-1910 console of the organ at St Alfege's, Greenwich, with its reversed colour manual keys, w
  12. Those of you who have visited the parish church of St Lawrence in Mereworth, Kent, will have seen the trompe l'oeil organ painted on the west wall above the gallery. I assume it is contemporary with the church (1740s). It depicts a three-towered classical case with double-storied flats; the overall effect is a bit like the cases of that design by Harris, but the artist has stretched the case proportions sideways and the number of pipes is in excess of that which a real organ would possess. Perhaps the hope was that a real organ would one day grace the gallery? I recently came across an acc
  13. Many thanks for the replies. The pipes are arranged in two rows, with basses to the left and trebles to the right, each pipe a tone higher than its neighbour. It looks as though I will have to try it and see what happens, as Colin suggests. I'm no engineer, as you will have gathered, but at the back of my mind was the thought that maybe the wind enters at the treble end in order to give the treble pipes priority, as it were, for the new air coming in from the blower, in order to reduce the impact of the wind-hungry bass pipes on the trebles' speech. But I guess that it's more complicated
  14. I wonder if I might call upon the expertise of the readers of this forum to help with a quick question? I have a small chamber organ with a single rank of 4' wooden stopped pipes. I would like to make a new stand for it to replace the very utilitarian and ugly base on which it currently sits, and to do this I would ideally like to move the position at which the wind from the blower enters the soundboard. At the moment it comes in from below at the treble end; it would be possible to change this so that it enters at the rear, but I am wondering if it makes any significant difference if it w
  15. Fear not, it is very considerably easier! The main challenges are counting the many bars of rests (which I solve by following the vocal score, marked up with those places where one needs to jump to the organ part) and the usual problems of co-ordinating with an orchestra that may be some distance away, following a conductor who appears an inch high on a TV monitor, and making a rosbif organ sound suitably Gallic.
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