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Mander Organs


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About Fiffaro

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    Melbourne, Australia
  1. Unusual audience member

    What cat wouldn't be attracted to the music of Messiaen? All that bird song...
  2. Recitals

    I'm visiting the UK briefly and will play the Lewis in Southwark Cathedral on Monday, 15th September, at 1:10 pm. The program consists of Mendelssohn's Sonata 1, three of Heiller's Danish Chorale preludes, and Fleury's Prélude, Cantilène et Final. Fleury has been mentioned a few times on this forum. I don't know if any of the forum members are based in London and able to attend a lunchtime concert, but you would, of course, be most welcome to attend, and, if you do come, please say hello afterwards. David
  3. organstops.org - where's it gone?

    Probably everyone has stopped following this thread by now, but, in case, I'll report back that my attempt to email Ed Stauff to let him know about the issue with organstops.org was unsuccessful as my email was returned with a "timed out" message. Google helped me find a Gmail address, so I've now forwarded my email to that. In the meantime, I am no longer able to access the site and have had to resort to my workaround. A shame, as it is particularly useful for my students.
  4. organstops.org - where's it gone?

    Thanks, Basdav. The site has come back to life for me, so I had a chance to hunt through and did find an email address for the person who runs it, Ed Stauff, and have sent him an email including a link to this thread. I was interested to read a little about him. Those interested in also doing this should select the "Ap" tab after the alphabet letters, and than click on the "About the Author" tab.
  5. organstops.org - where's it gone?

    I also can't access the site directly, receiving a This web page is not available message when I try. It is clearly online, as Google is still caching it. If you use Google as your search engine, enter "organstops" and the name of the stop you would like to examine, a link to the page will appear as one of the search results. Next to the URL is a little arrow pointing down, which when clicked, gives you the option to view the page as cached by Google. It is a slow approach, but at least it will give you access. SteveBarker77, is there a link on the site to contact the webmaster or send them an email to let them know that there is a problem?
  6. Prelude & Fugue in G minor by Dupre.

    And, of course IMSLP is always helpful... http://imslp.us/php/linkhandler.php?path=/scores/Dupre_Marcel_1971/Dupr%C3%A9%20-%203%20pr%C3%A9ludes%20et%20fugues%2C%20Op.%207%20%28organ%29.pdf
  7. Pedalling without shoes

    I've just received a pair of organ shoes from a manufacturer in the USA that had not previously appeared on my radar screen - Tic Tac Toes. I have been using a pair of ball room dancing shoes that I originally bought several decades ago, but when I purchased a replacement pair from the same manufacturer a few years ago, I found they were less suitable, with thicker leather soles and cheaper construction. I have looked at the Organmaster shoes but wasn't totally convinced. What helped convince me to try Tic Tac Toes was the recommendation on their web site "Please note, that the construction of Organ shoes (lighter and more flexible for better pedal feel) is not intended for use in Dancing." So far, I'm very happy with them. They cost me less than half what my previous shoes cost, and allow me to feel what is happening better.
  8. Tips for technique

    I would highly recommend the Zoom H1 for practice recording. Extremely easy to use, amazing quality for the price (79 GBP at Amazon.co.uk) and records for ages on a single AAA battery. Easy to carry around with you, and cheap enough that I'm not paranoid about someone nicking it while I'm practising.
  9. Alain's Litanies- A query

    The C, B and A are natural: Accidentals from one staff do not effect the other staff. If you compare chords between the two systems, you'll find that all the RH chords are played by the LH, and you can use that to check each chord. G natural is intended. Have fun learning the work. It's worth working hard on the rapid descending chord section from early in the process, as this is the section that tends to separate the sheep from the goats.
  10. Alain's Litanies- A query

    Towards the end of the work, the 18th bar from the end (and identical passage 2 bars earlier). In my edition (Alphonse leduc 1971) the 18th bar from the end is on top of the last page of the 2nd volume, page 36. This section comes immediately after the theme is in the pedals. and is played over a pedal g-sharp (tied to an a-flat). Another way to find it is to count from the Declamato bar that started this thread - the 7th bar after. HTH
  11. Heiller, Meditation on Victimae Paschali

    Peter Planyavsky has recorded all the organ works of Heiller. I don't have any idea if these are still available or not.
  12. Alain's Litanies- A query

    Very good sense. I shall certainly use this approach! Thanks.
  13. Alain's Litanies- A query

    Just where the RH part moves to the Positif? (Assuming you are playing hands swapped.) I am able to apply a stringendo after that quite happily, but would prefer to be playing faster earlier. Normally I'd try rhythmic variants to help a passage like this, dotted, 1 + 3, 4 + 4, 2 + 6 and so on tracking the speed of each variation as I push the tempo. However... The grouping of the quavers in the theme is so ground into my brain from learning the rest of the piece that I can't stick to the rhythmic variant, even though I've been using this approach for years in other pieces and don't normally have to even think about it. The power (?) of the brain sometimes just gets in the way. I've wondered about using Sibelius to type the chords in groups of fours, but seeing I can't stay with the rhythms when practising this section from memory and not using the music, I'm not sure that this will work. So, I admit to just bashing away at it. I'd love to increase my tempo further through this section, so perhaps re typesetting might help.
  14. Alain's Litanies- A query

    I have found, in those pieces of Alain's that I've played, that he (the editor?) prefers to add accidentals that are not necessary in order to make his writing clear, rather than the other way around. See, for example. Le Jardin suspendu, second page, 4th system first bar and following bar, where the second sharp on f'-sharp is unnecessary, or in Litanies in the rapid descending chord passage that most of us take hands crossed which has many more accidentals than are required by the rules of music copying. For me, this indicates quite the opposite approach from expecting an accidental in one voice to be read in another and applied to the other b's which don't have a double flat in their octave. In a quick look through of some of his music that I play, I was not able to find an 'apply it in another octave' example that would be analogous to applying b-double flats in the Vivacissimo section. Having said that, I'm sure someone will be motivated to find such an example, so please share it with us.
  15. A little inequality ?

    Ah, one of my favourite topics! Almost all of the chamber concerts I perform use some non-equal temperament. In fact, I've only ever tried tuning my harpsichord in equal temperament once, and that as an exercise, several decades ago. Singers who are used to this work much the same was as, for example, string players, tuning in (pardon the pun) to the characteristics of the temperament that you've chosen on the fly as they rehearse, and occasionally asking to work on particular intervals or chords when they are struggling to centre the pitch quickly. Singing 'in tune' involves more than just how wide a third is, or how narrow a fifth is, in any case, and it tends to be less experienced conductors and choirs which obsess most when dealing with this aspect. (This is not meant to be a reflection on the question, which is a good question or the originator of this thread. On the contrary, I'm just trying to say that for those that are more experienced, there is less worry about this particular aspect of sounding 'in tune' than for those that are less experienced.) In my experience, in trying to help singers tune pure intervals, pianos tuned equally are not the ideal pedagogical help. Organs, with their sustained tone, are better, and, for example, 1/4 meantone, provides pure thirds for singers to hear and to match pitch with (c - e, f - a, d - f-sharp, e-flat - g, g - b, b-flat - d, and your choice of e - g-sharp or a - flat to c) and for perfect fourths and fiths, although, as pwhodges says, not in the same triad! (But that doesn't matter once the singer has experienced the sensation of what a pure third, fourth of fifth really sounds and feels like.) Of course, there is wonderful software for this as well. There are funny moments with all this: I never tire of watching cellists tune to an A, then tune wonderfully pure fifths, only to look puzzled when the C is not in tune with the accompanying instrument. They do it time and time again and the result never changes! I have wondered, with instruments where the harmonics are so out of tune as they are with a piano, whether people with so called perfect pitch are pitching to the first, second or even subsequent harmonics. Piano tuning is a series of compromises to work with this problem. Tuning harpsichords is so much easier than tuning pianos as with smaller diameter strings their harmonics are much closer to being in tune. Now, I used to play an organ build in 1741 which was decidedly not equally tempered. The choir at that church was not the most advanced choir that I've trained, but they had no trouble singing to it. The congregation was totally used to it and never commented on it. I chose to transpose some hymns into keys that worked better with the temperament. The repertoire that worked well on that instrument was written before God punished musicians by leading humanity to the general adoption of equal temperament. That was the most extreme temperament I've regularly enjoyed for leading a congregation, but I have also played others with milder temperaments such as Valotti and Young. It was very rare to find something in an accompaniment that hit the ears, and the congregations were used to it in any case. I so miss that Pfiffaro and the wonderful sound of the Principale. Sigh. Back to the Baileys and pleasant memories.