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Everything posted by innate

  1. 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 abou
  2. 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.
  3. The building I’m thinking of has such a good acoustic ambience the >30 year old A***n D*g*t*l toaster doesn’t sound bad.
  4. I’ve not heard this one but it has received very good reports: https://www.npor.org.uk/NPORView.html?RI=D03624
  5. It’s not that dissimilar to the secular instrument up the road: https://www.npor.org.uk/NPORView.html?RI=N08021
  6. I like your 4-man spec. Thanks for posting that. On paper it’s less “sparkly” and more “gravitas” than mine 🙂 Funnily enough the choir accompaniment isn’t the main thing, although there might be occasional choral evensongs. I respect your experience but aren’t there many examples from the 17th and 18th century of secondary divisions with no 8' principal base?
  7. Spreadsheet unavailable [see attached graphic] There could, hypothetically, be an existing chair case for the Choir which would limit the number of foundation flues. Maybe, as in some “box organs” there might be room for an open 8' from Middle C, but I suspect that won’t satisfy you 🙂 I quite like having my choices limited in some regards and I hadn’t really thought of this department as being a traditional English choral tradition accompanimental division at all; the Swell and Great are designed to be sufficient in that regard. The Bombarde Flutes I imagined to be open, quite strong
  8. I couldn’t open your spreadsheet spec. One particular I could have mentioned is that this might be for a relatively small historic case, hence the slightly small pedal and swell divisions. I think the idea is that the Bombarde reeds are available via the coupler rather like an “Appel” (if that’s the right word); possibly easier to add and subtract than if they were on the Great, especially if there is a reversible pedal and/or thumb piston. With 9 8' flues on the manuals it beats some “classical” Cathedral organs. Christ Church, Oxford has only 7!
  9. Vivat Regina, Vivat Regina Elizabetha! sounds like Latin to me.
  10. I would choose harpsichord, clavichord or low-pressure pipe organ for Bach keyboard music and a circulating temperament for the “48”. The organ pieces would probably have been played on organs with less “modern” temperaments; Bach didn’t get his way with most organ builders, I think. But I don’t mind people playing Bach or Scarlatti or Byrd on the piano if that works for them. The music is glorious whatever. I really couldn’t care about the pitch standard though. Bach existed at a time of differing pitch standards and had to cope with up to three at the same time for some of his Cant
  11. Ruffatti made tonal changes to the Keble Chapel organ quite recently.
  12. Very interesting! Not wishing to divert the discussion before it’s started but is there any common ground between the Orgelbewegung and the pioneers of other “early instruments” and attempts to rediscover lost performance styles, including Arnold Dolmetsch and Francis Galpin? And in turn do those pioneers connect with the pre-Raphaelites and the Arts And Crafts movement?
  13. Paul Jacobs is in the same league as Dupré, or a higher one. He’s played the complete Bach organ works from memory and the complete Messiaen organ works from memory (in one day, I think—I caught Messe de la Pentecôte).
  14. You need your own, designed to fit safely under the VdG draw stop, “Keep Cup”, that you take to Tim Horton’s for them to fill with their delicious brew. If Hortons are anything like any UK coffee outlet chain you’ll get a 30-50¢ discount on each cup if you bring your own cup to save the planet!
  15. This was my list of omissions from when I made the spec: Omissions Tuba/Chamade solo reed Voix Humaine 2' flute 1⅓' 1' Choir: 8' Dulciana or Open Diapason, Larigot Great: 8' Open Flute, Twelfth, Cymbale Swell: 16' flue, 4' flute, “standard” Mixture, chorus reed Pedal: 32' Reed, 32' flue, 3rd 16' flue, Quint 10⅔', 8' flute, 4' flue, 8' or 4' reed Octave couplers (mechanical) eg Sw/Gt Suboctave; Sw/Gt Superoctave; Sw/Ped Superoctave; Ch/Ped Superoctave Enclosed Choir
  16. There’s a Swell sub-octave to Great at the Swiss Church, Endell Street, which really beefs up the potential. Some have said that the Gt. 8' flute at St Michael’s Highgate, an organ I know quite well, although identified on the stop knob as Stopped, is in fact an open flute at least in the upper register. Thanks for the inside info.
  17. It would have to be an unconscious reference to GDH! I do have a copy of a book about the American Classic Organ (or whatever it’s called) but reading it made very little impression on my thinking. The separating of the big reads from the Great is to allow Trumpet voluntaries and other music that needs the reeds to be separate. I didn’t say, but I would want this instrument to have mechanical key action and this design is a sort of mechanical Gt Reeds duplexed on Choir!
  18. You’re not wrong, Jonathan! I love the enclosed Resonance division at St Michael’s; I’m in two minds about enclosing the Bombarde here. Obviously with the lack of a large chorus reed at 8' in the Swell it would be useful in the late romantic repertoire to have the Bombarde reeds under expression but there’s something exhilarating about unenclosed and untameable (?) fiery reeds. Maybe the flues in the Bombarde division could be enclosed and the reeds not; a little like at St John’s, Oxford.
  19. I know many frown on this sort of thing but the board is hardly overwhelmed with posts at the moment so here goes: An Organ for a Large Parish Church GREAT (II) Bourdon 16' Open Diapason 8' Stopped Diapason 8' Gamba 8' Principal 4' Flute 4' Fifteenth 2' Mixture IV 1⅓' (19, 22, 26, 29) Swell to Great Choir to Great Bombarde to Great Cymbelstern SWELL (III—enclosed) Open Diapason 8' Stopped Diapason 8' Salicional 8' Voix Celestes 8' (from AA) Gemshorn 4' Fifteenth 2' Sesquialtera
  20. I’d be surprised if there were any limit set by national legislation. The rules for children performing under Local Authority licence in eg theatres or film or television are very strict but I’m not aware that any such restrictions apply to worship.
  21. It must be easier to tune a “pure” ratio than any equal-tempered interval unless you are using electronic tuning aides in which case any interval will be as easy to tune as any other, all other things being equal!
  22. Are you not remotely interested in how music would have or might have sounded to our favourite composers before Equal Temperament was adopted? It’s a massive subject and sometimes just trying to get to grips with the basics can feel overwhelming but remember that SS Wesley and some of the great British organ builders of the 19th Century fought against what they saw as something that would reduce the effectiveness of the traditional pipe organ sound.
  23. it would be good to see a page or so of one of your Mass settings. I’d be up for making an organ accompaniment of a few bars for your delectation! Stanford always, as you indicate, wrote independent organ parts for his choral works. Even though I can tell you want something that both supports the choir and doesn’t distract from the text it might be that an organ part that isn’t just a simplification of the choral parts might be not only more interesting to play but better from a musical point of view.
  24. I’m sure everything has changed since I took it in 1981. I played the big Bach Vater Unser from ClavierÜbung III, one of the hardest things I’ve ever learned, a Howells Psalm Prelude and the Leighton Paean which I’d learned at least 4 years earlier. I passed the practical first time but failed the paperwork, despite having just got a 2nd Class degree in Music from Oxford. Go figure!
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