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Everything posted by innate

  1. Theatres and concert halls are workplaces so are subject to workplace legislation.
  2. 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
  3. Škrabl have certainly made and installed a lot of pipe organs in the last couple of decades in many countries.
  4. 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?
  5. 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/
  6. 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 chu
  7. 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, i
  8. It’s hardly a difficult transposition—play it in Bb and at least you’ll have to concentrate a little!
  9. 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
  10. 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.
  11. 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.
  12. I’ve not heard this one but it has received very good reports: https://www.npor.org.uk/NPORView.html?RI=D03624
  13. It’s not that dissimilar to the secular instrument up the road: https://www.npor.org.uk/NPORView.html?RI=N08021
  14. 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?
  15. 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
  16. 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!
  17. Vivat Regina, Vivat Regina Elizabetha! sounds like Latin to me.
  18. 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
  19. Ruffatti made tonal changes to the Keble Chapel organ quite recently.
  20. 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?
  21. 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).
  22. 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!
  23. 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
  24. 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.
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