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John Sayer

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  1. My views must seem hopelessly old-fashioned. There's no harm in thread drift on Facebook or Twitter, but on a specialist forum like this, where a certain standard of conduct is expected from contributors, then they should not abuse the privilege provided, as a matter of courtesy. (In the case to the two recent threads on Ripon Cathedral, some would say there is also the matter of courtesy toward the Dean & Chapter). I'm sorry to say the standard of discussion has deteriorated sadly over the last couple of years. It is surely no coincidence that the number of regular contributors (an
  2. So sorry - I meant, thoughtLESSness, of course. Seriously though chaps, can we not behave a little more responsibly in such things? If not, I'm afraid, I do not wish to be a member for much longer. JS
  3. As the risk of repeating something I wrote on another page relating to Ripon Cathedral, would forum members kindly have the courtesy to start a new thread if they wish to take the debate off at a tangent like this. As a member of the congregation I object to views being aired under the heading of Ripon Cathedral which clearly have little if anything to do with the Cathedral, its worship and its music, and this entirely as a result of laziness and thoughtfulness on the part of contributors - and, predominately, regular contributors who ought to know better. Is it too much to ask for con
  4. Indeed. Totally risible, grotesque in its literal sense, ie. clownlike. I really don't think it's worth wasting any more words on a circus act like this. JS
  5. I seem to remember I got mine through Organists Review/Allegro Music. Durham Cathedral Choristers' Association seem to have it in their online shop at £20. The ref number is SCMA1001and you get an audio CD as well as the DVD.. See: www.durhamcathedralchoir.org.uk JS
  6. On a slightly different tack, there is, of course, the excellent DVD produced jointly by the Elgar Birthplace & St Chad's College, Durham, in which James Lancelot gives a masterclass on the Sonata, and suggests re-workings of one or two 'awkward corners'. The disk is also worth buying for the fascinating discussion on the genesis of the work by Prof Jeremy Dibble, Relf Clark, James L and others - not to mention a visit to H&H's works. For me it's probably the best organ-related DVD to have appeared for years. JS JS
  7. It's now clear that a number of builders seem to have used them at one time or another - Walker, Forster & Andrews included - so they are more widespread than I thought. Perhaps there were firms of key-makers, rather than organ builders proper, who specialised in them. JS
  8. Can anyone advise which builders, apart from Father Willis, used rounded sharps? I'm interested to know whether the Rev'd F H Sutton specified them in the organs he designed or was otherwise involved with. Although I'm not totally certain, I believe the following three instruments have this feature: Hoar Cross, Staffs (Bishop) Brrant Broughton, nr Newark (Wordsworth & Maskell) Stockcross, nr Newbury (Bryceson Bros) Another common factor, which may or may not be relevant, is the involvement of Bodley, as designer both of the church and of the organ case. JS
  9. You'll forgive me if I decline to be drawn into further discussion on the Ripon instrument: I've probably said more than I should anyway. Suffice it to say North Yorkshire folk are proud of this rather special instrument - a wonderful synthesis of Thomas Christopher Lewis and Arthur Harrison at their best - and are keen to see it preserved for posterity. Thank you all for the interest you have shown to date. May I suggest that general debate on organ restorations moves to a separate thread? JS
  10. Well, the BBC have given him not one but two Prom slots at the RAH, so they must be hoping for bums on seats. JS
  11. Cathedral organs have a heavy workload, being played for at least 2 hours on average every day, taking into account services, choir rehearsals and organists' practice etc. Roughly speaking they are thus in use for the equivalent of one whole month each year. On that basis, 30 years does not seem an unreasonable expectation, not least given that builders' guarantees are generally for a shorter period than that. I don't believe the Ripon organ has received more frequent attention than others, and some of the interventions at various dates have been quite limited in scope. The last major di
  12. Arthur Harrison moved the Choir division from its original (Lewis) position above the player's head on the south side of the case - from where it must have sounded lovely in both nave and quire - to make way for a new Solo division. The Choir was was then enclosed in a new position above the stalls on the north side of the quire, receiving a couple of tonal changes in the process. H&H removed the enclosure in 1963, dispensed with a couple of 8ft stops, made the Lieblich Bourdon 16 also playable on the Pedal, thus making room for a Nasard, Tierce and Cimbel. Re-enclosure was mooted
  13. It was Rossini, in fact. "M. Wagner a de beaux moments, mais de mauvais quart-d'heures". Is anyone else heretically inclined to 'mix'n-match' movements from different Rheinberger sonatas at times, to come up with a more satifying 3- or 4- course repast? JS
  14. The Cathedral website now has an announcement on the launch of a new Choral Foundation at Ripon - a positive and exciting way forward. JS
  15. Not impertinent at all. This not a major rebuild in any sense of the word, but a refurbishment aimed at giving the instrument another 25-30 years of reliable service. The total cost, including associated costs such as hire of scaffolding and temporary electronic instruments etc, will be around £260,000. JS
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