Dulciana

But, as a whole, it doesn't look particularly "French" (at least to my eyes), and coherence was one of the things we were after. I must say I still prefer an open double.

Ditch the pedal violone for an open diapason. Why not make the great double a contra-geigen or something like that and make it available on pedal to increase the variety of 16' tone? I think the pedal organ is lacking with just a bourdon and violone at 16'.

I don't think that it should be necessary. If a publication chooses to quote somebody out of context, then anybody reading can come back here to see the context. If somebody is misquoted then that is a different matter and appropriate action can be taken. Either way, I don't think that anyone here should feel inhibited about expressing their views even if they are accessible to a wider audience (as long as they do so in a lawful way).

Funnily enough, I, too had been thinking about this recently. In my edition, the second (octave higher) D has a sharp, and so I had (perhaps foolishly) assumed that the absence of one before the second C meant that it was implicitly natural. If both the C and D were to be sharpened, I assumed that their treatment in the score would have been consistent. However, if the C was natural, one might have expected a natural sign just to make that clear. In other words, I don't really know. I like the sound of the C natural, though.

I agree that there is nothing wrong with a bit of fun at an organ recital, but I don't think fun on its own is why people attend organ recitals and, indeed, concerts in general. If a light/fun/frivolous encore is required in order to take away the bad taste left by the programmed pieces, then surely that indicates that the programming was faulty. There are certain pieces that organists seem to like playing which I could well imagine would not appeal to non-organists. There is a vast amount of good organ music around, and the audience who has experienced fine playing of a well thought-out programme will go home feeling satisfied even without an encore. What an encore shouldn't be is an apology for what has gone before.

A few years ago I attended a recital at Glasgow Cathedral given by Sophie-Véronique Cauchefer-Choplin. The final programmed item was an improvisation which I found thoroughly captivating. I really wished she'd left it at that, because my excitement at what I'd just heard was quickly extinguished by the (perhaps inevitable) Widor which followed as an encore. (Not that it wasn't splendidly played.)

If I "came clean" and told you my name it would't mean a thing to you, since I am not well known in the organ world, nor am famous for any other reason. You might as well call me dulciana as my real name for all the difference it would make. I suspect this might be the reason that some others have not revealed their true identities. In any case, since this forum is a means for discussing and exchanging information/opinions, I don't really see how it matters.

For example http://www.glasgowmuseums.com/assets/fileS...ngroveOrgan.pdf

I agree with much of what has been said here. He impresses me while leaving me cold at the same time. I don't want to be impressed, rather moved, and I have seen no evidence that he could do that for me. Watch his performance of Vierne's toccata; it is quite ridiculous, and despite all that technical ability he seemingly cannot play legato in the pedals!

Don't forget Lefébure-Wély. It is "legitimate" organ music, and does tend to please the crowds.

Perhaps more a case of over-interpretation. Film and TV scores seem to be largely based on well worn formulae, particularly with regard to harmonic progressions; much of it is pretty generic, although John Barry does do it pretty well. The minor dominant to which you refer isn't, though, developed as a tonal centre, but is probably there as a way of simply adding a bit of variety. I'm not sure about the flattened sixth in Moonraker. It's surely also important to recognise that not every vertical coincidence of notes adds up to a discrete harmony.

That doesn't represent the same type of problem.

If improvements in pedal board design since Bach's time rendered the use of heels acceptable, then why persist with toes only pedalling? There seems to be no practical advantage in continuing to use only toes, and to do so is surely nothing other than intellectual posturing. The correct technique must be that which produces the most satisfying results musically. I agree with Cynic here; I wouldn't call it fetishism, however - I'm not quite sure what I would call it. However, when historical considerations overtake common sense and musicality, then priorities have clearly become disordered.

Indeed. And what a splendid player; I heard her when she played at Glasgow cathedral a few years ago, and made great music on that rather nasty instrument.

This was a bit like a car crash: I knew I shouldn't have looked, but somehow couldn't stop myself. http://uk.youtube.com/watch?v=iPKXSWaMpME

I would add my thanks to Paul for going to the trouble of scanning and sending these pieces to us.

Indeed, although the underlying pathophysiology is unclear; levels of melatonin, serotonin and even prolactin have been proposed as being disturbed, but no consistent evidence for any of these has been gathered. Anyway, MM, consider trying the lightbulb - we don't want you feeling depressed.

On the subject of "toasters", could anyone indicate the practicality of using a digital organ (a Wyvern) to control Hauptwerk? Is this possible?

"what I have noticed in the first 2 months of the year, due to work patterns, is that I suffer lethargy, frequent ill-feelings, negative thoughts, poor co-ordination..." Could this be seasonal affective disorder? "fills up with all sorts of toxins and generally doesn't present a pretty picture." Hmm, this sounds a bit like pseudoscience to me.

But not a new-comer to this thread...

Is this Zetland church? If so, then the organ would appear to be a Father Willis installed by our hosts in 1983, according to NPOR. This might well not be the same church, however. Next time I'm in the vicinity I'll pop in for a pint.

As an experiment, try simply switching off the organ at the end of the service and not play anything. Simply join the rabble for coffee, and see how many people comment on the lack of music. This might provide a good opportunity to make the point.

If, as the advert says, the organ is "playable" and has a "nice tone", then why is it redundant? Well, the answer's obvious. Cultural vandalism.

I have always regarded "correctness" and "rightness" as being different entities, although their dictionary definitions afford them equal status. It is easy to be correct, but less easy to be right.

Surely something is either correct or incorrect. I wasn't aware that there existed degrees of correctness.