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Everything posted by innate

  1. 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!
  2. 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.
  3. 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
  4. 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.
  5. 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!
  6. 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.
  7. 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.
  8. 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!
  9. That’s very interesting, David. I’d be interested in hearing more about pipe organs tuned in unequal temperaments whoever has built them. Particularly if anyone has experience of a pipe organ so tuned in a major Anglican parish church.
  10. I remember the Mold instrument being on the cover of Organists’ Review and there being a quite detailed write-up inside. It made a huge impression on the teenage me. I still haven’t seen it in the flesh.
  11. Hurford’s LP recording on the “Dutch Organ” at Eton was an absolute revelation for me.
  12. Also good to know that Divine Service is considered a Performance.
  13. Thank you for that inside info, sjf. As I originally said, I am in two minds about this. I wonder, where funds and space allow, if, for establishments where the full range of repertoire is expected, the solution sometimes found in the USA where a modern, eclectic instrument is complemented by a historically informed instrument much more suitable for Baroque music eg St Thomas, Fifth Avenue, should be followed. Neither instrument has to be enormous. It would seem to be a retrograde step to consider the hugely significant artistic vision of Susi Jeans, James Dalton, David Lumsden, David Butterwo
  14. I’m wondering how mechanical slider-action stops being pulled out or pushed in could make more noise than the same stops operated by solenoids. Contortions of the organist seated at consoles behind a Rückpositiv or traditionally-placed English choir organ are normally unseen by choir, congregation and clergy. I accompanied the Britten Missa Brevis on the small 2 manual Father Willis at Christ Church with no human registrands and very rare use of the composition pedals. There’s a section of The Festival Te Deum which would benefit from the kind of registration aids that had yet to be invented w
  15. Some 20th century organs have registration aids; many do not, including some of the best, most musical instruments.
  16. I’m in two minds about that. As a liturgical church musician I understand the desire for all “mod cons” in terms of registration aids, but to see such a fine “pure” instrument turned into something it was never intended by its designers and makers to be makes me feel regret. How long before they extend the manual compass? And add a tuba?
  17. Because it’s preferable for everything to stay exactly as it was in 1549/1662/1928/1953*. *delete as appropriate
  18. That’s amazing, Paul. Do you still have it? In the end it should perhaps go back to Christ Church for an honoured place in the Library.
  19. Good luck, Jonathan! I’m split between suggesting “pure” organ music, originally written to move and inspire using the organ’s unique voices, and arrangements that, dare I say, might engage the children more immediately. Tunes they recognise, such as TV and film tunes, might be a good way to start and finish. I’m a little behind what children are listening to and watching, these days, but Harry Potter and the Incredibles might go down well, or (scary thought) Frozen.
  20. I’ve seen the instruments in Lyme Regis and Beaminster but heard neither. There have been rumours that both instruments are quite, um, brash but I’ve also heard that said about the beautiful instrument in St Michael and All Angels, Bedford Park.
  21. I played Dieu Parmi Nous at the end of Midnight Mass in the Tower of London c. 1984. A Yeoman Warder switched off the power to the organ half-way through!
  22. I imagine they would be prohibitively expensive but would bars made of silver or, indeed, gold, produce good tone?
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