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  1. When I was there as an undergraduate 40 years ago the choir would normally sing at the West End but they were always at the East End for the Thursday Evening Eucharist (where the Mass Setting was always unaccompanied), which certainly gave the service a Mediaeval feel.
  2. That secondary definition may be how some use the word but it’s kind of the opposite of its original meaning and its general adoption would render the word ambiguous and therefore useless.
  3. Let me know when Nicola Benedetti plays a recital of Brahms and Stravinsky on an electric violin or Yuja Wang plays Debussy and Rachmaninov on a digital piano. This really isn’t a question of being “truly authentic”—we aren’t demanding Liverpool Cathedral has a mean-tone mechanical instrument at its West End nor are we expecting Benedetti and Wang to play Bach or Scarlatti on harpsichord or gut-strung violin (although Nicola has done just that!), just on instruments whose constituent parts excite the air and interact with each other and the audience in a natural, musical way. if you’re getting epsdis ffo maybe the problem is in you.
  4. Sorry, I meant to say that Anna was talking on BBC Radio 3: https://www.bbc.co.uk/sounds/play/m000n6bt
  5. Contrabombarde—I know exactly how that felt! I did a 2 minute version and it was still too long. The next day I heard Anna Lapwood relate that she once played it at the start of a wedding—she could see the West End and the East End from the console but not the middle bit of the bride’s route. She’d worked out the length of music that was needed and started when she got the signal from the clergy. At the end she could see no sign of the bride. So she played it again. Still no sign of the bride. And a third time. Turned out the bride had stopped halfway for photos!!
  6. Thank you both, Dafydd and Jonathan for your helpful suggestions.
  7. I’d love to hear from organists that have found good, musically convincing, cuts in this popular Wedding prelude. I think I need it to last about 2 minutes; and I probably play it at a less than virtuosic tempo.
  8. I’m fairly sure that the old “blockwork” organs had no sliders; if there was wind and you put down a “note” all the pipes sounded. When they introduced the first slider it would, I imagine, have had the function of “stopping” some of the pipes (probably the highest ones) sounding so the lever was probably called a stop from the very beginning. Whenever that was.
  9. I don’t think this is the right place for a discussion about mask-wearing in general. There’s plenty of information both authoritative and bonkers easily available.
  10. That’s going to be our plan too, when services are inside. We hope to be outside for many of the Sundays from now until the end of September though and we will encourage everyone to sing. Social-distancing: I think our plan is to have the North side of the church to be a free-for-all and the South side to remain for those who wish to maintain social-distancing as before with alternate pews roped off.
  11. My favourite Gordon Reynolds quote is the definition for tenor: There are either too many or none at all. When there are none it leaves an aching void; when there are too many it fills the void without removing the ache.
  12. I found this guided tour of the latest instrument from Juget-Sinclair very interesting.
  13. You know that movement in the original orchestral L’Ascension that, for whatever reason, Messiaen decided not to rewrite for organ which meant we got Transports de Joie? Here are those orchestral Trumpet and Cymbal alleluias on the organ in an astonishing performance of his own transcription:
  14. I’ve often used the Cornet V + Trumpet 8' to serve as a “super solo reed” in pieces such as the Tippet canticles, especially on two organs that no longer exist where I was on the staff: the HNB at Exeter College, Oxford and the HNB at the Tower of London.
  15. I used to play orchestral piano and celeste occasionally for the English Chamber Orchestra. I viewed the owner/manager’s attempts to belittle my contribution by claiming I was being paid so much “per note” as demeaning.
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