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Mander Organs


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  1. Eighteenth century English voluntaries: filling in harmonies

    I’m no expert but I was under the impression that most treatises on continuo realisation on keyboard instruments generally indicate that the left hand plays the bass and the right hand “fills in” the harmony. If the right hand is busy playing a cornet or corno or flute obbligato then any harmony notes can only be added by the left hand, which would seem to me to mean that it is not going to be continuous added notes but merely, as Vox Humana says above, occasional left-hand octaves and left-hand chords.
  2. I’m in sympathy with your concerns. Three tierces, separate or in Cornets, would be useful, if only for that movement in Les Corps Glorieux.
  3. Celestes

    Maybe there are other “pure” intervals that could be used to similar effect.
  4. Celestes

    This sounds like a beautifully “pure” and musical approach! Thanks for your explanation, Friedrich—I suspect many will have been enlightened by it.
  5. Celestes

    If the two ranks are of identical design, construction, winding and voicing how can there be any difference if no other stops are being used to give a sense of the pitch of the instrument?
  6. Beauvais Cathedral

    I’m hoping it was an unintentional auto-correct.
  7. St Mary’s, Stoke Newington

    I don’t know this instrument but npor http://www.npor.org.uk/NPORView.html?RI=N16925 indicates many “prepared for” stops. Two questions, well three really: Is npor accurate and up-to-date? What’s the instrument like, for services and as a recital instrument? “Prepared for” stops—in general how often are they eventually provided and how often do they remain as a, ahem, perpetual pipe dream?
  8. P D Collins Organ At Turner Sims

    Bad Britten? Psalm 150!
  9. Norman & Beard Question

    Doubling ranks was an English organ-building tradition in the 16th-17th centuries I think. And Renatus Harris had that idea (was it actually built) of 7 identical stops being added gradually by a pedal to effect a crescendo. But, yes, these multiple doubled ranks at York and Liverpool must have been problematic to tune and of limited success in the presumed intention of increasing volume.
  10. Newcastle

    That’s absolutely true, and not just for Aubertin organs. But this forum would be even duller if we weren’t allowed to speculate based on stoplists. Aubertin himself mentions an organ providing all the essential stops for eg French classical repertoire, so I think discussion along those lines is legitimate.
  11. Newcastle

    It’s also struck me that there’s an alternative sort-of' Cornet at 4' pitch using the Portunal 4', Flageolet 2', Quinte 1 ⅓' and the Tiercelette.
  12. Newcastle

    I can imagine the high Tierce rank giving an almost cymbale quality to the Positive plenum, and adding a useful piquancy to solo combinations. Is a Suavial a flute? I always thought it a string, perhaps like a Geigen principal. 3' used to be standard for a twelfth, even on some mid-late C19 English organs. For higher mutations you need a more specific fraction to tell the difference between a 17th and a 19th, I suppose.
  13. Norman & Beard Question

    Not sure if this counts as late Baroque or early Organ Reform Movement: http://www.npor.org.uk/NPORView.html?RI=K00981
  14. Music desks

    I sometimes play on an Allen with a terrible music desk—too high, too close to vertical, no metal “stays” to keep books open, and a ridiculous light in the bottom of the music desk which is covered by any music you put on it.
  15. Decent Vivaldi Gloria Edition needed urgently

    I did this a couple of months ago and used the (recentish?) Novello edition, as did the singers. Some of it is hard to get to work on the organ but not impossible. A pageturner is a big help.