JJK

The one and only time I heard this work played was by Gillian Weir at the RFH 2-3 years ago. I had low expectations, but actually was riveted from beginning to end. Now you've reminded me of this, I would like to hear it again - can anyone recommend a recording? How is the Herrick, and which CD is it? JJK

....... but one needs to be careful to distinguish between the two types of Wyvern model. The cheaper ones are imported (from Content, I think), possibly with modified samples, and seem to offer value in terms of the number of stops per £. The more expensive models use Phoenix technology which is in a different league*. Wyvern no longer have their own in-house technology, and the consoles are either imported or made by Renatus in Devon. *But not up there with a good pipe organ, of course. And anyway, let's not hi-jack this thread, which is on a different subject! JJK

I suspect most recent digital organs use the same type of keyboard, which use plastic keys but have a simulated "tracker" touch (ie a bit of top resistance). I have a 3m Phoenix, and had to make the difficult decision of whether to spend more (a lot more) on wooden keys, or accept the standard plastic. I went with the standard ones, but I sometimes regret it. I think maybe the difference is in the weight of the key - somehow a spring-loaded plastic key doesn't give the same effect as the inertia of a heavier material. But then the wood-cored plastic keys on the electric action pipe organ I play in Church are no better, and rather spongy in feel, although the plastic looks classier (ie less white!). Anyway, returning to the thread subject, I find that playing the piano is little direct help in developing organ technique. I am not even sure that playing a good, light tracker action really helps - I've always found such instruments much easier to play, particularly in coordinating the pedal and manual parts and in phrasing. But then it seems more difficult to return to an electric action organ. Maybe the answer is that where possible we should practice mainly on a similar type of instrument to that used for the "performance" - in line with most other musicians! JJK

Yes - St Georges Hall was originally GG-a (63 note) on all 4 manuals JJK

Art of Fugue (or is that not allowed?) Passacaglia & Fugue (maybe also not organ music?) or the wedge P&F or the great b minor P&F. Couldn't possibly decide between them! JJK

hmmmm.... at first I thought it seems wrong to put Widor up there - may be so, but I reckon the last two symphonies are highly inspired. The Gothique I have listened to repeatedly for years and it does not pall. I'm told the Romane is even better, so I must get around to it! Both these works were composed with particular organs in mind (Rouen and Toulouse), and I am sure they work best on those instruments. This seems to be a rather unique feature of organ, as opposed to other instrumental music. JJK

I wonder if your lost LP was the older Preston recording at WA - 1960s I guess? It would be fascinating to compare this with the later (1985) Reubke, recorded after the rebuild - but I guess the old LP is even harder to come by than the CD. JJK

.....but you should note that the Great reeds had been revoiced by the time this recording was made. This was done at Preston's behest (in 1982 I think), and I guess they became much less tromba-like. JJK

This recording has appeared on Ebay before - commanding well over £50 if I remember correctly. Still, this price seems surprisingly high - will be interesting to see if it sells. It is my favourite recording of the Reubke, and I think on release was described by Gordon Reynolds as the finest performance of the 20th century. The thing for me is the innate musicianship - however, the organ could not be described as authentic, and I suspect the performance is not particularly historically informed. JJK

I believe a "monkey quint" is an arrangement where unison pipes have quint pipes attached to them, and fed from a common foot. Separate mouths facing in opposite directions. The quint pipe is said to look like a monkey carried on the back of the unison! It's meant to be an excellent way of constructing a resultant stop, but I've never seen one - does anyone know of any examples in UK? JJK

Just to clarify, this price represents a rough but informed initial estimate of the work needed, which does include general overhaul and restoration - but not tonal changes. IMO it is still a large amount of money considering that the digital transmission would last 15-20 years and the EP action maybe slightly longer. JJK

This issue is close to my heart at the moment. The organ I play was rebuilt in 1988 with a digital transmission and playback system (replacing a pneumatic action in use since 1914). For the past couple of years this has been the cause of numerous random ciphers, and the instrument is getting towards unplayable. I'm told the digital system is not repairable. This is in addition to the electropneumatic action, where the magnets are also at the end of their life, and the cause of further, slightly more manageable ciphers. So should we replace the digital transmission with the latest version, as well as restore the EP action, and expect another 18 years (approx cost is £60k for a 20 stop organ). Or completely replace the action with something simpler and therefore more reliable and with a longer life. Or could I assume that the latest digital systems will last longer? But how can this be proved? JJK

I suspect 2010 will be closer to the mark....at least for the full instrument to be back and working. JJK

Thanks - those are the ones. Tempting to upgrade to CD - however there is something rather nice about the booklet with the LP boxed set, and the cover picture showing those chamades! JJK

mmm - I agree with that. Very inspired playing, but sadly now deleted. Copies change hands on ebay for £50+ Latry's complete Durufle from St Etienne du Mont is one of my favourites. I'm also rather attached to an LP boxed set of Cochereau playing Vierne symphonies from Notre Dame. JJK

I did manage to buy this CD on AMazon about a month ago - it was through the following Amazon marketplace seller http://s1.amazon.co.uk/exec/varzea/ts/cust...1759964-2067003 Mind you, it did cost me £41 As it's discontinued it does seem to be pot luck whether someone has some of the remaining stock. JJK

I think it is entirely credible that digital organs will become indistiguishable from the real thing in terms of the sound - although I agree that significant developments in speaker technology may be needed. However, to me, this still leaves a fundamental problem. Digital organs are extremely good at imitation; but what happens if there is nothing left to imitate? Pipe organs have evolved to their present form as a lot of very clever and artistic builders have found new ways of making and voicing pipes, and designing the associated wind system etc. If there were no, or very few, new pipe organs then it seems to me that there will be little further evolutionary development of this instrument. Digital organs will be stuck with imitating Hill, Willis, Mander, Tickell etc, but there will be nothing new. And if digital organs were to evolve in their own right, then I guess they would very quickly start to sound nothing like a pipe organ - because the same constraints in terms of what pipes can be made to do would no longer be there. Of course this might not be a problem - and might be seen as more "honest" - unless you happen to like pipe organs, and their imitations, as I do. JJK

When drawn, it removes all 16 ft stops from the manuals and all 32 ft stops from the pedals. JJK

It's clearly not in a good state, and I see they need £160k to restore (link below) http://www.churches.lichfield.anglican.org...john/church.htm I'm glad that the organ seems to have survived - I had heard a few years ago that the Church building itself was under threat due to subsidence - a common occurrence in that part of the country due to intensive coal mining. JJK

How could it take 6 months to do this work???