ajt

Presumably if it was going to be unequal, you'd have made a conscious choice to go with it? so it's roughly equal?

I assume Twyford went with equal?

No worries, no stress here. Like I said, my initial reading was that you were categoric. Doesn't look quite so definite when you pull the quote out on its own.

[Edited] You said: I read this, originally, as stating categorically that Kimberger does exist.

How can a violin be "in a temperament"? Regardless of period? I'm not trying to be argumentative, I just want you to explain this to me, 'cos I really don't understand! Surely a violinist, regardless of the age the instrument, plays a third as a third? They don't think, oh, I should be playing in Werckmeister, and I'm playing Db to F, so I must make the interval x beats wider/flatter than pure, do they?

It's a very very very impressive orchestra that can play in unequal temperament - naturally we try to make every interval pure, same as singers.

A bitch of Organists? A murder of Organists? A Mixture of Organists?

It's just too close to be true. Clearly a typo. As others have said, if Kimberger was significant enough to have 3 temperaments, it'd be in Grove. I'd give in graciously if I were you

Even though all the arrangements, even of the modern stuff, are really poor, and the words are butchered? Take a look at O Little town for example - he's swapped round the How silently verse, for a start!

And other rubbish such as "On Eagle's Wings". There's a lot in it, and a lot of rubbish too.

Sort of - I sang at a friend's (Adrian Bawtree, another very good organist) wedding, who had Andy Lumsden playing. Andy did improvisations in a French style on Rhubarb & Custard before the service... I then had Adrian Bawtree play for my wedding - no big organ works, though, bits of the Monteverdi vespers instead!

I think you need to look around you. The 60's (and, for that matter, the 70's, 80's and 90's) are over Seriously, why are we bothering with this discussion? We've gone over this ground countless times.

The accompaniment is fairly, err, standard. With the choir, there are some good bits, notably the world without end/amen from the mag, but it's not Howells at his most inspirational.

I don't think we are bitching. We were, I thought, trying to discuss some of the factors as to why the organ isn't popular. You raise many valid points too.

Inspired. I shall suggest it forthwith and introduce new hymns at every service.

I saw a post by a 16 year old organ student on another forum, saying he's only just started learning, but would really like to experience a big organ. So I dropped him a PM and offered to let him have a go at my church. He was keen, but I get the sense (unsaid) that his mother is not. I can understand her concerns, but I wonder if this kind of thing is an image we organists have to overcome? i.e. we have an image as a bunch of weirdos, so it's not cool to learn the organ, plus the more sinister things that people associate with church musicians, rightly or wrongly.

Yes.

Mission Praise (to be said in your best Brum accent, please) isn't as bad as some - it has many of the trad hymns in, although the arrangements aren't stunning. The more modern hymns are usually quite well arranged or in their original form. Unlike the Mayhew Hymns Butchered and Badly Arranged (Old & New, in PC speak). It's an abomination, not only of music, but also of words. At a previous church we used MP and AMR - we wouldn't mix them up in a service (at least not for the congregation). It worked quite well. Whatever happens, don't buy Hymns Old & New.

Carrying on the Embarrassment thread... Andy Lumsden came over to have a look at the St. Mary's organ this morning, and, as ever, played like a genius. I made the mistake of trying to play, and misguidedly chose Widor VI. I immediately donned my finest boxing gloves and flippers. Doh! Andy was, of course, thoroughly charming about it, but I was soooooo embarrassed. I'm sure I'm not unique in this regard, but I really go to pieces when I think someone is listening and judging...

Truro is frequently compared to Salisbury, for obvious reasons. What do you think the relative merits of the 2 are? Is Salisbury that much more flexible for having an enclosed solo?

Which bit of a cross?

I still can't decide if I like Winchester. I've not really played it much, but having just conducted for Ash Wednesday (name dropping here - it's not often visiting choirs get to do the Allegri in a cathedral!), with David Coram playing, I blew hot and cold. He, as always, played very very well (it's so nice to have an accompanist that's both solidly reliable AND exciting at the same time), but didn't seem to get his usual large variety of colour out of it - David, was this due to time on the instrument, or just because it wasn't inspiring? My impression is that it's just not an inspiring instrument - there are some bits of it which are recognisably Willis, but it just seems so bland ; beautifully tuned and very comfortable, but bland.

Any help - a very small CC in the UK - http://www.cavaille-coll.co.uk/gallery.htm ? Seems to show lowest pitches nearest the player, higher furthest away.

Sunday: 1030 Eucharist (Sundays 2-4) playing/conducting 6.30 Evensong singing at Romsey Occasional Mondays - teaching organ Tuesday - taking church choir rehearsal Wednesday - taking rehearsals for my chamber choir (http://www.laudachoir.org) Thursday - Romsey Abbey choir rehearsal And this is the cut back schedule, on top of working 9-5.30, commuting 100 miles a day, and having a 5 month old baby!

That's easily fixed if you have an organ capable of making enough noise - doesn't need to be massive, just enough for you to make enough noise that the congregation feel they have to talk louder than usual, then you just drop the volume right back, and they feel all self conscious. Keep on with this game for a few weeks, then they'll learn. I've not had to use this at my current place, more's the pity - with a plethora of BIG reeds, this would be quite good fun