JJK

Thank you all for these ideas - I will investigate all of them

I have been asked to play an organ piece during the service on Passion Sunday, as a meditation. Less than 5 minutes duration. My - perhaps obvious - first thought is the JSB O Mensch Bewein, but does anyone have any other suggestions......? JJK

Some may prefer to stay single......

Sorry - having looked at wikipedia , I realise that there are apparently differing usages - "vulgar fraction" may mean any fraction and "improper fraction" is the type I described as vulgar. My maths teacher wasn't aware of this! Anyway, it does explain the use of the term for mutations. At least we can be sure that lower pitched mutations are both vulgar and improper! JJK

I believe that a vulgar fraction is one where the numerator is a higher number than the denominator. Hence a 2 2/3 twelfth would be 8/3, and vulgar. A larigot would be 4/3, also vulgar. In this definition, the higher pitched mutations (none, septieme etc) would not be vulgar. So I find it a rather confusing term to use in this context - in fact the DVD by Prof Tracey was the first time I heard it used by an organist. Why not simply "fractions", or more conventionally "mutations" JJK

I think not. This is surely the 1985 recording, after considerable changes including the revoicing of the great reeds. JJK

I don't think Barry said this - the quote from Rev'd Lamb was an example of those who disgree with him, wasn't it?

Excellent! Nicely trumping the RAH...

There are suppliers in the UK who would supply custom instruments with fewer stops and more channels, and at a reasonable price - although such an instrument would clearly cost more per stop than a standardised larger instrument, it could be an enormously better and more musical instrument. JJK

Something that I would welcome. He is a first rate organist, and the combination of him and that instrument are unique - yet there are all too few recordings available, and much suitable repertoire awaiting. And I suspect that of all organs, that beast in particular demands a full time and experienced player. JJK

Tried looking there - didn't find any pics of that. Sorry! If you look in the "projects" section it's at the bottom right. However, it may be not quite the sort of thing you are looking for - the keyboards and stop knobs are all ivory, and it must have cost a fortune. As David Wyld has previously mentioned on this board, it is connected to a digital simulation with the stop list of the St Georges Hall Willis. JJK

Many thanks Wolsey

Does anyone know where I might find the anthem version of this rather fine hymn tune (as sung on Hyperion's recording of hymns from Wells). Our new vicar (who evidently has good taste ) has requested it for his induction service. Many thanks JJK

Oi! That's enough Wirral-bashing!

Sunday Telegraph today reports that hundreds of pipes have been lost (possibly stolen) from the RFH organ! Anyone know anything about this? JJK

Was this by any chance played by Jeanne Demessieux? If so, then it is the recording which at a young age introduced me to the Widor Gothique, and I am very attached to it. I think the other work was the Liszt BACH. JJK

At this point I shall make a hasty withdrawal .....

I absolutely agree with this - I think that, particularly in small buildings, too much upperwork does little to stimulate good congregational singing, and a good broad foundation tone can work wonders. Regarding articulation, I find that clearly articulating repeated notes while maintaining legato for moving parts can give an overall legato effect but still communicate the rhythm. This is the method taught by the aforementioned lady organist. Perhaps we should call it the "Barbican" method? :angry:

I understand that Fazioli are experimenting with carbon fibre as a material for their grand pianos (soundboards and action, I think) JJK

I regularly play on an instrument where the swell comprises 8 8 4 2 III 16 The 16 is a contra fagotto, probably quarter length in the bottom octave. There is no proper balance in the chorus, the mixture does not seem to fit, and the 2 is a piccolo which doesn't blend. Whatever one does, the result is not very musical! I do use the octave coupler from time to time - otherwise there seems to be an enormous gap between the reed and the fluework. I have also found that, by coupling 8 8 4 III 16 to the great at octave pitch, with unison off, a reasonably balanced, rich sound can be obtained which works in hymns. For anything contrapuntal, I wouldn't bother with the swell at all, let alone with octave couplers - I just use it as an adjuct to the pedal organ. Returning to the question, I suppose I think that use of octave couplers is quite valid in the following circumstances, particularly in smaller instruments: Quiet accompanimental effects (eg, to get strings 8 & 4 effect) Transposition of a solo stop (eg, to get 4' pedal reed for chorale preludes where there are no such 4's on the organ) JJK

What about Byrd? JJK

By " 's " I assume you mean " ''s "

I heard, from one who should know, that he intends to keep the Cardinall's Musick going - which I am pleased about! I too think this is a very imaginative appointment - looking forward to seeing/hearing the results! JJK

Thanks - that is interesting. Liverpool seems to have had one which was on a lighter pressure to all the 32' flues, suggesting it was an independent rank. I'd have expected the 64' resultant, which has always been there, to use this rank as the quint. However, the 21 1/3 is now gone, and the 64' still there! Maybe the 21 1/3 is really still there, with no separate knob??? JJK

You are right - I clearly didn't read what I wrote! 4' = superoctave or fifteenth, 2 = 22nd JJK With a derived stop, would it make any difference, at that pitch, that the tuning of the quint is not perfect? Would there be an advantage in having a separate rank tuned true, to balance the not inconsiderable expense? My guess is that a separate rank would improve the realism of the 64' effect - but I've never tried a 64' stop, real or otherwise. JJK