Dulciana
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Posts posted by Dulciana
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The Machine has garbled the title - it should read "a coherent scheme of no more than 30 ranks"...
Here's mine, for what it's worth...
Pedal
1) Violone 16
2) Bourdon 16
3) Principal 8 (Ext. 1)
4) Flute 8 (Ext. 2)
5) Choral Bass 4 (Ext. 4)
6) Contra Posaune 16
7) Trumpet 8 (G.O.)
Choir
8) Stopped Diapason 8
9) Lieblich Flute 4
10) Nasard 2 2/3
11) Recorder 2
12) Tierce 1 3/5
13) Cromorne 8
Great
14) Bourdon 16
15) Open Diapason 8
16) Wald Flute 8
17) Principal 4
18) Harmonic Flute 4
19) Fifteenth 2
20) Mixture III 19.22.26
21) Trumpet 8
Swell
22) Lieblich Gedact 8
23) Viole d'orchestre 8
24) Voix celeste 8 TC
25) Gemshorn 4
24) Flageolet 2
23) Sesquialtera III 17.19.22
24) Bassoon 16
25) Cornopean 8
26) Hautboy 8
The action to the manuals would be assisted tracker, with the pedals electro-pneumatic - would this render the transmission of the G. O. Trumpet to the Pedal impossible, I wonder?
Any comments? Any ideas of your own?
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'.
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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).
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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.
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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.
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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.)
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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.
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I'm not sure that this is true, actually. A look at a number of Romantic organs with "original" combination pedals will show that it was quite the norm to include flutes with diapasons.
For example http://www.glasgowmuseums.com/assets/fileS...ngroveOrgan.pdf
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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!
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Don't forget Lefébure-Wély. It is "legitimate" organ music, and does tend to please the crowds.
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It's going to be the theme from Moonraker on Sunday. My other, better and in this instance at least wiser half has determined the the main James Bond theme tune blasting out after a sung Mass might be a bit too much.
Anyway, I watched Moonraker last night and two things occured to me about the music: (i) one of John Barry's hallmarks seems to be a minor dominant; this is used frequently in his many scores, including Moonraker. (It occurs also in You Only Live Twice, for example.) (ii) the flattened sixth (Moonraker is in B major) - given that Moonraker is set partly in space, this musical device, which is established in the first bar of the theme song, seems to suggest the expanse and darkness of space; I only say this because it is used frequently in scores for the Star Trek TV series and films.
Is this a fair analysis or is my imagination just running wild?
Peter
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.
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Yes, agreed, to a point. However, you have better control with toes. Say, for example, there was something on the floor which you wanted to move with your foot. Would you try and move it with your heel, or with your toe end of your foot?
That doesn't represent the same type of problem.
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I play Bach all toes. Why? Because I have travelled, played a lot of historic organs, and studied with some very good people. And, most importantly, LISTENED A LOT.
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.
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handsoff - pleased to be of help! As an aside S-V C-C is a charming personality, maybe some members of this group have met her. She played for us when IAO visited Paris in 2003 (?) and I purchased a CD from her personally when she visited Chester many years ago, which she signed "a big thank you to you for loving my music". A lovely lady.
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.
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This was a bit like a car crash: I knew I shouldn't have looked, but somehow couldn't stop myself.
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I would add my thanks to Paul for going to the trouble of scanning and sending these pieces to us.
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Seasonal Affective Disorder (SAD) is a well known alteration in the body's chemistry. It is caused by an alteration in the way in which light falling on the back of the eye is processed, chemically. It is treatable by drugs or, more easily, by the purchase, for about £2, of a daylight bulb. The light is a rather harsh blue glare, but the effect is dramatic.
Barry Williams
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.
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"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.
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This...
...is a relative newcomer to Youtube. Incredible - that thunderous reverb!
But not a new-comer to this thread...
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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.
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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.
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Dear All
Happy Easter to everyone! . . . But it's a very unhappy Easter for another Hunter with a Willis connexion in Bournemouth on Ebay:
http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...em=220214205957
It looks a most lovely instrument - hope someone can preserve it in tact rather than being lost to spare ranks. Palestrina - one for you?
Best wishes
Spot
Redundant Pipe Organ M0116
Hunter c.1930
Southbourne Methodist Church
Southbourne Rd Bournemouth Dorset BH6 5AQ
2 manuals and pedals
21 stops
TP key and stop action
Compass 56/32
Dimensions (size of chamber throughout which the units of the organ are dispersed)
Width 28 ft
Depth 8 ft
Height 20 ft
NPOR Index N08273
Stop List
Swell
Tremulant
Oboe 8
Horn 8
Harmonics 3rks
Gemshorn 4
Vox Angelica 8
Salicional 8
Leiblich Gedeckt 8
Geigen 8
Great
Super Octave 2
Octave Quint 2 2/3
Harmonic flute 4
Octave 4
Wald Flute 8
Dulciana 8
Open Diapason I 8
Open Diapason II 8
Double Open Diapason 16
Pedal
Octave 8
Bass Flute 8
Bourdon 16
Open Wood 16
Couplers
Swell to Great
Swell to Pedal
Great to Pedal
Swell Sub Oct
Swell Octave
Accessories
4 thumb pistons to Great and Pedal
4 thumb pistons to Swell
4 composition pedals to Great and Pedal
Reversible Gt-Pd pedal
Balanced Swell pedal
Blower 3HP
The organ was “modernised” and enlarged by Willis in 1946. It is playable and has a nice tone.
Buyer makes all arrangements for dismantling, packing and transport.
Returns are not accepted.
Church Contact:
Rev. Bob McKinley
6 Stokewood Road
BOURNEMOUTH
BH3 7NA
Tel. 01202 557890
Email: bob.mckinley@btinternet.com
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.
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Things can be almost right, but nothing can ever be perfect. Only God is perfect, as my English teacher used to remind me.
MM
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.
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Surely "If one wished..", or even "if one were to be.." would be more correct?
Surely something is either correct or incorrect. I wasn't aware that there existed degrees of correctness.
Stuck At Home In The Snow, I'm Bored - Stoplist Time, Anybody?
in The Organ
Posted
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.