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contraviolone

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  1. I'm sure you know quite a lot. I think on a previous thread we mentioned this issue. Of the stops you mentioned I am surprised the Cornet was removed. This is such a versatile addition to any specification. It's also a useful 'support' for the treble reeds.
  2. It is worth pointing out that the individual voicing of mixture work, such as Fourniture IV (19.22.26.29), can make a tremendous difference to the brightness of the principal chorus. I am always reminded of the King's College Cambridge organ, where the 1970 addition of the IV rank Fourniture on the Great made a significant difference to the overall effect of the chorus. Some might say it was a bit too bright, being a product of the fashion back then to brighten up principal choruses and make them 'stand out from the crowd'. All the recordings from King's pre-1992 make this evident. The work done by Harrisons in 1992 though toned down the brightness of this stop, and to a certain extent I think this is a shame. It's certainly more integrated with the principal chorus but it has lost that something which made it a bit more fun.
  3. I have noticed in recent work such as Canterbury Cathedral nothing in the mixture work has gone above the 29th. The favourite seems to be Mixture/Fourniture IV (19.22.26.29). Not saying there's anything wrong as such (perish the thought) but I would have thought a little more 'colour' would be welcome.
  4. Having read through this thread, and having previously read the other thread, I can only say that the idea of removing the current instrument with the FW from Brighton is utterly ridiculous. Is the present instrument in St John's that bad? And is it really in such a poor state that it warrants removal for another? As it is the FW instrument is significantly smaller than the one it will replace, and as alluded to before will need additions, particularly 32' provision on the Pedal. And that's just one example of many others needed.
  5. I still have the old FJ recording on vinyl. It makes an occasional appearance and with quite a useful speaker set-up can be quite interesting. Definitely impressed by the performance the other day. I agree it does sound a little brighter than before. One or two notes in the lower registers were a little bit 'off' but I don't really mind this at all. Adds to the character. Must be the cold weather tickling those reed tongues.
  6. I actually like the glass pyramid at the Louvre. It works for me, but I must admit it is difficult to explain why. The latest console at Notre Dame de Paris is indeed hideous and I am hoping it will not survive the current rebuild of the instrument. This 'edgy' approach the French seem to take can work, but not very often. I remember the favourable press coverage of the Pompidou Centre but when I first viewed it in 1985 it left me cold. It hasn't aged well and today looks like a pile of decaying junk.
  7. It's just a resultant stop. We may trust the French to tart up the word so that it sounds just superb when it isn't. That organ case in Evreux is utterly hideous. What were they thinking? Totally out of sympathy with its surroundings and completely grotesque.
  8. You are wrong but no need to apologise. It was said in a little moment of jest.
  9. Having read that it would be hoped they will respect the current voicing of the pipework of this instrument during the restoration. Given the results though from other recent work elsewhere I am not completely convinced of this.
  10. Given the continued ecumenical relations between the Anglican Communion and the Roman Catholic church, presumably you mean 'transferring'. I'm not sure if it's any measure of success to describe the transfer of allegiance to the Bishop of Rome.
  11. Yes I remember pcnd5584 mentioning this. I'm surprised he has not returned to discuss the restoration? He last visited this site on 17th January 2020.
  12. The West End diapason chorus does not work all that well. It comes across as being rather disembodied and vague. You know there is something going on when being used but the overall effect is indistinct. If memory serves it is placed south side of the nave gallery, this in itself doesn't really help either. The solution of course is a large West End organ on a gallery speaking directly down the nave, but that isn't going to happen. The Royal Trumpets are rarely used. The effect in the Dome is of course much better, if a little one sided. All the Dome section is squeezed into the NE Dome gallery. There should really be some pipework in the SE Dome gallery (where the old diapason chorus was located) to balance things off. Perhaps the old Willis Dome tubas and reeds from 1900, now gathering dust with our hosts, could be placed there? Question is (and in other places in this regard), when does it all end?
  13. Indeed. The ongoing conundrum of balancing the needs of a strong choral tradition in the quire and the wider needs within large cathedral spaces. Perhaps the French have the best idea. https://www.youtube.com/watch?v=913NA4Axyiw
  14. It goes without saying the location of the pipework is not ideal, placed as it is either side of the chancel high up in the triforia. This of course was the same before, but despite the drawbacks of the instrument in its previous specification, a degree of balance could be achieved if a careful choice of registration was used to support the choir. Of what I have heard so far the effect of the new instrument is certainly quite powerful. It illustrates the characteristic bold voicing of the principal chorus which again will need careful handling. I'm not sure why Harrisons have gone down this path of strong voicing, another good example is my local cathedral at Bury St Edmunds where you will be literally blasted to pieces even with a modest set up of Great to fifteenth. I'm sure it sounds fine down the nave but in the chancel it is overpowering. I fear the same effect may take place at Canterbury. On the other hand, the recent work by Harrisons at King's College Cambridge is vastly different. Overall balance is nigh on perfect. I was able to listen to the instrument very carefully at close quarters during 2019 and the restoration I believe is a triumph, within the remit of the restoration. At the end of the day placing organs high up in Chancel galleries just isn't ideal and I suspect whatever approach is taken it isn't going to produce the best results.
  15. I remain a bit unconvinced with regard to the work at Canterbury.
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