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Mander Organs

innate

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  1. Bruce Willis. Martyn Lewis. George Harrison. Charlie Drake.
  2. Useful tip about the Fitzjohn editions, Tony. Thanks. Tallis to Wesley sounds like the Oratorios that my Dad used to refer to as Railway Announcements. Olivet to Calvary, calling at Gethsemene, Herod’s Palace … and all stations to … you get the idea.
  3. I don’t find the “facsimiles” of the Stanley voluntaries tedious; I like imagining I’m back in the 18th century! I wish they hadn’t reengraved the C-clef parts though. Buxtehude—I’m really glad I don’t have to learn German organ tablature in order to play his music 🙂 In terms of favourites: whichever I’m playing at the time. I like the Stanley one in F with the horn parts a lot.
  4. Christ Church, Oxford differs from the other Oxbridge choral foundations by being a full-blown cathedral as well as a college chapel but they have had Assistant Organists working side by side with organ scholars certainly since the mid 1970s with Nick Cleobury being Assistant Organist at Christ Church whilst still, I think, being organ scholar at Worcester College and Cathy Ennis after (or whilst) being organ scholar at St Hugh’s.
  5. Sure, but the staff includes the Director of the show and other so-called “creatives” who will try to sit in every area of the auditorium during preview performances so will need to be protected.
  6. Theatres and concert halls are workplaces so are subject to workplace legislation.
  7. I only played for one Christmas service this year, a Lessons and Carols service at a church where I’ve played just a handful of times over the last 10 years. Bach Pastorella BWV 590 before the service and Bach Pièce d’Orgue BWV 572 afterwards. I won’t identify the church. I’m told that half the organ was destroyed by wartime bombing. What is left is: Great: 16 8 8 8 4 4 2 III Clarinet, Choir: 8 8 4 4 2 II Tromba, Pedal 16, 16, 8. There is no swell box, the Great couples to the Choir, in addition to Great to Pedal and Choir to Pedal there’s a Choir 8va to Pedal. A above Middle C and E a tenth above Middle C don’t sound on the Choir but do work on the Gt when coupled through. D two octaves above Middle C doesn’t work on the Great.
  8. Škrabl have certainly made and installed a lot of pipe organs in the last couple of decades in many countries.
  9. innate

    Cranleigh School

    That is certainly a point worth making; thank you, Colin. But do we know if any non-fretted instruments used ET before the mid-C19? Did ET have a name in the C16, C17 and C18? If Bach was aware of it (he wrote for the lute and the viol) do we gather from his title “Das wohltemperierte Klavier” that he had rejected ET for Klavier music?
  10. innate

    Cranleigh School

    I’ve known that frets on lutes and viols could be positioned so as to approximate to some non-equal temperaments for about 40 years! http://luteshop.co.uk/articles/tuning-temperament/
  11. Thank you for the responses. pwhodges: I feel for your son’s early experience at Winchester, but how fortunate to have learnt on the Rieger. I was there when it was being installed and voiced. Tony; the nearest there is to a regular choir has no official place to sing but in the Gallery near the West End is very good from an acoustic point of view. So I imagine that would continue. The biggest problem I foresee with an integrated console would be communication with clergy immediately before or during services. Maybe there’s a technological solution to this already in use in some churches. What about using the organ in concerts? The delay will be apparent to the conductor, orchestra and choir at the east end wherever the organist is, but if the console is near the performers at least s/he can make the adjustment. At a West End console the delay would be effectively doubled unless some kind of headphone system is provided. What happens at St John’s, Smith Square (a similar building in scale)? My wife played in the orchestra for a recording of the Poulenc Concerto (I think) in Tonbridge School shortly after the Marcussen had been installed with Dame Gillian Weir—there were significant problems synchronising the organ and orchestra.
  12. This is a rather wide-ranging question which might have benefitted from splitting into a few separate topics but let’s see how it goes. Given the choice, in a working largish parish church with an active liturgical and concert life and the pipes of a new organ contained in a historic case high up at the West end, between electric action and a detached console at the altar (concert platform) end at ground level and an attached console with mechanical action in or next to the case, what would your preference be and why? If your answer is “both” how likely is it that one console will, in practice, be used almost exclusively and the other lie gathering dust. Are there any effective reversed consoles with mechanical action on organs with a chair division? Are there limits of size (number of stops, manuals) that make a terraced console too large to see over? I seem to remember the organ in the West gallery at St Aloysius, Oxford being rather good from a visibility point of view. Does having a “side” console make for serious problems with mechanical action? In the old days organs were nearly always in the West Gallery (or on the crossing in a Cathedral) and the organist often obscured by the chair case. Liturgy was, I suppose, much more predictable then. In churches where organists are expected to respond to a glance or a subtle hand signal from the clergy or the Master of Ceremonies do modern closed-circuit video systems work as well as being physically close to the action? My preference is for mechanical action.
  13. It’s hardly a difficult transposition—play it in Bb and at least you’ll have to concentrate a little!
  14. Has anyone played Bach on a clavichord? I went to a clavichord recital once in Oxford and it took about 10 minutes of playing for my ears to adjust to the extremely low dynamic level. But the sound of a clavichord isn’t a million miles away from an early piano, just quieter! And they were the common practice instrument for keyboard players, I think. Some large triple-strung clavichords were made in Bach’s lifetime that perhaps projected better than the small ones. Just wondering where people draw the line? Bach on an early fortepiano might be interesting. I don’t agree with mkc1’s comment about the necessity of sustained tone; Bach wrote and arranged a lot of contrapuntal music for lute or Lautenwerk.
  15. I can’t remember the official name, maybe “cubus”, but a continental European builder used to advertise small organs with a single “pipe” that produced many chromatic notes for a 16' pedal stop. Compton had something similar for the 32' octave. I think they work on the principal of an ocarina.
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