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Everything posted by innate

  1. I wonder how much organs are, or have been, used in small-to-medium sized ensembles. I’m excluding continuo in baroque-era music and use in symphony-sized orchestras. The Britten Church Parables, and the organ-harp-percussion version of Chichester Psalms come to mind immediately. I think there’s a version of the Duruflé Requiem for organ and string quintet (+optional brass and percussion). Many of the older, grander theatres used to have pipe organs 100-150 years ago—were they only used on their own or were they ever part of the theatre orchestra sound? Partly I’m asking as I’m currently playi
  2. Henle Urtext Edition have made what seems to be a perfect implementation of a tablet-compatible non-copyright-infringing music reader. https://itunes.apple.com/gb/app/henle-library-urtext-score/id1021283948?mt=8
  3. Thank you for that information, JJK. I remember Mark Blatchly’s despondence when discovering that he couldn’t play Le Banquet Celeste with the specified 2⅔' coupled to the pedal on the then brand new Rieger at Christ Church, Oxford as the only isolatable twelfth was the Nazard on the Récit which was providing the Celestes. The stop on the Positif labelled 2⅔' was the 12, 17 Sesquialtera. If only that Sesquialtera had been a double draw.
  4. I was led to believe that “Diapasons” in 18th Century English organ music meant Open and Stopped Diapasons together.
  5. I would hope that there is some lightly-sprung “clunk” at the half-way point.
  6. I think the Aubertin at St John’s College, Oxford (the big one), has a half draw on the Cornet to select the lowest note as C# instead of C. My father used to use the half-draw celeste effect on the not-quite octopod 8-stop 1912 Norman and Beard I grew up with. To CTT’s point, I am not an expert but I always assumed that a half-draw on a slider chest operates a slider with two sets of holes: one set for the full draw and one for the half-draw, so that any electric stop-action would have to accurately position the slider in the right half-draw position. I'm sure it's possible but has it
  7. Half-draw stops appear quite often on the specifications of small- and medium-sized mechanical action instruments from Continental and North American builders these days. I’m not aware of many instruments from UK builders with them, Generally they draw a single component from a Compound stop eg a Fifteenth from a Mixture or a Twelfth or Nazard from a Sesquialtera or 2- or 3-rank Cornet. Sometimes they have a different function eg providing a choice of lowest note on a Cornet, or changing the composition of a Mixture for a 16' plenum. My questions are: Are these half-draw stops a good i
  8. I bought a synthesiser in the late '80s specifically because it had individual aftertouch on each key which you could programme to control volume, pitch, timbre. We all wish we had it on our pianos and organs occasionally, no?
  9. I don’t know if this instrument http://www.npor.org.uk/NPORView.html?RI=G00093 has been discussed here before. A search didn’t produce any results. This organ has been highly regarded by colleagues and friends (including the much-missed Theo Saunders). I’ve played it a few times recently and I must admit to being slightly underwhelmed. The console is comfortable but, rather like its similar-sized near neighbour at St Michael’s, Highgate, badly-situated for being able to judge volume and balance; given the only mechanical links are the swell pedals a position on the opposite side of the cha
  10. Interesting and considered points all, Colin; thank you. I think use of the word “ditched” regarding the Choir case related to the historic main case being listed and the much later choir case not, so schemes using solely the old case or constructing a new choir case may be considered. The Jesus College, Oxford instrument would be an excellent exemplar. The organ in St Paul’s, Covent Garden could also offer some inspiration. [Edited to add: the last sentence was not in reference specifically to choir cases or lack of them but I can see it might read like that; I was talking more broadly about
  11. Very sad news. I owe Theo much from the encouragement he gave me when I was a youngster just starting on the organ. He was a graceful host and a conscientious and witty correspondent. I was so pleased I contacted him a couple of years ago and was able to see him, his house and cathedral in Armagh, after a gap of more than 30 years.
  12. I did mention tuning in my OP so can’t complain. Let’s assume that the heating is stable, more so than in a cathedral such as Peterborough! In my experience the temperature of, say, a trumpet or flute just brought in from the garage (!) has much more effect on its pitch than the temperature of the room. The use of the organ in “blended” music is something I’m theoretically in favour of, Tony, as it should be something that can if done well confirm our similarities and celebrate our differences but maybe it’s something to be reserved for special occasions.
  13. I haven’t heard Emmanuel College, but it’s a neat spec. Would you want to add anything to it? A Sw.Sub8ve/Gt coupler or a Sw 16' reed? A Clarion for some extra fire?
  14. Friedrich, many thanks for a very thoughtful and perceptive response. The Stephen Bicknell article is extremely interesting and relevant to this discussion. My hunch is that fitting a new organ into an old case and building has probably been done more often and more successfully in Germany and other Northern European countries than here but of course the musical requirements will differ from most Anglican churches.
  15. Apologies if this has been done before or if it isn’t the right forum. This post is prompted by the lack of activity here. This is hypothetical. What choices would you make if you were the final arbiter (organ consultant, builder, advisor, organist/DOM) for a new organ to fit into an historic organ case on a West End gallery in a medium-large parish church with a generous acoustic in a medium/large city? Main case and chair case (the chair case may be ditched). Money no object. Uses include parish worship with traditional (Choral Evensong) and modern (blended) services, Civic services, rec
  16. And I see that on yesterday’s post on the YouTube thread the organist is using what appears to be an iPad to play Franck.
  17. This is something I am thinking about too, rogbi200. Up to now I haven’t felt the need for an iPad or similar-sized tablet, and on the occasions when I’ve been asked to sight read from one I have found the image a little too small for my middle-aged eyes. But an A4-sized iPadPro is a different proposition. A PDF or other digital-format hymnbook would be really useful, especially with an easy-to-use bookmark feature. As you say, the Apple Pencil should make annotation straightforward. I export from Sibelius into PDF all the time so viewing on the iPadPro should be easier than printing. The only
  18. Well, it’s nice to know there isn’t a massive technical problem with the board! And, thanks to the prompting from Colin I have subscribed to Organists’ Review via iTunes as I’d hate to miss anything interesting about house organs :-)
  19. I don’t know why I didn’t think of Derby; I know it well. I don’t know Carlisle at all.
  20. That’s a very interesting proposal, MusingMuso! I can think of Christ Church, Oxford and Westminster Cathedral with West End gallery organs. At Christ Church the choir stalls are close to the organ and in that small, non-standard cathedral space it works. The choir are nowhere near the West End at Westminster Cathedral which reflect a continental Roman Catholic praxis. Are there any other West End organs and, more interestingly, choirs in the UK?
  21. I may be taking this too seriously but isn’t there some specific protocol about bishops seeking permission in advance from the dean before entering a cathedral? Or is that only when a bishop plans to enter their *own* cathedral?
  22. That is, I’m sure, true for you and many other church musicians, David. But the, I imagine self-employed sole-trader, motor mechanic will probably have some significant overheads included in his hourly rate.
  23. There’s a 1' on the Choir where I play that is one of the least used stops on the organ. It was originally a Larigot 1⅓' but was re-formed as a 1' at some point. It’s nice as a tinkle but would be more useful if it could easily be part of the ultimate “gap” registration of 16' + 1' which, as the only manual 16' flue is a heavy Double Diapason on the Great, can only be done by coupling through the Swell 8' flute with the Sub-octave and Unison Off.
  24. I couldn’t say for certain but I believe the small 2-m Father Willis at Christ Church, Oxford was not only a lovely instrument but had a similar bureaucratic function.
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