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About robertsharpe

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  1. Yes, in the Demessieux Te Deum before the service (all the pre-service music is on the stream). The next level down is the Tromba, then the enclosed Tuba. With the west shutters, Posaunes and Swell reeds are joint fourth place.
  2. It’s all about a slowly-built climax. Liturgically, we are on a journey to Easter with today being the third Sunday in Lent. The organ was blessed before its first contribution to worship (in the Kyrie) and can then be heard in several of its limitless layers of colour in various improvisations as the liturgy progresses. Not too much too soon, and just right for the day. The big party, liturgically, is on Easter Day, when the organ will be dedicated by the Archbishop at Evensong and its contributions will be telling and celebratory. Between now and then, there will be the chance to h
  3. Hello Rowland, thank you for your query. In such a situation, one would simply play the solo in the tenor register. Bairstow was fond of this in hymns, and used his left hand for it. Richard Lloyd also did similar in Durham, and I’m sure there were/are many others. Effective with a large congregation as it supports the melody at male voice pitch.
  4. Hello John, and other readers. In answer to your question, the Mirabilis will not be affected by the solo octave couplers in the restored organ. The pedal divide has a fifth Solo Octave to Pedal coupler above the divide point, in addition to the standard four manuals to pedal ones, and this will affect the Mirabilis for when a tune in the middle of the compass on that stop is desired to be played by the right foot. Incidentally, the other Solo stops, when played through this pedal divide coupler and with additionally Solo Octave and Unison Off drawn, will play at double octave. i.e. Orchestral
  5. Board members may be interested in the opportunity to acquire a part of the Minster organ from the north and south facades. www.Givergy.uk/yorkminsterorganpipeauction
  6. Not yet, John. I will mention this to Francis when i next have an opportunity.
  7. Peter, thank you for this. There is extensive Bairstow correspondence in the organ archive here. On particular thing he was of a mind about was the use of combination pedals rather than the H&H foot pistons which by 1930 were more usual. The Leeds console had combination pedals too, I believe. Here is a letter about this:
  8. That’s right, John. The same arrangement persisted after 1993 when the name was changed to Diapason Celeste. In more recent years, the tuning has been reversed with the VD rank being the undulating one, and the OD tuned normally. This will be the arrangement in the restored organ.
  9. I’m not sure that it was intended to be an imitation as such, but the name would imply the Italian influence. I’m not certain exactly when it was first tuned in this manner and whether it preceded Arthur Wills’ Fiffaro at Ely. There won’t be any half-draw option. The hierarchy of the reeds mentioned in my earlier post is as heard to the west. To the east, the Tuba Mirabilis is much further down the list as it is ultra-directional in its projection westwards. It’s an interesting question about #5 with the new west shutters; my guess is that #4 and #5 will be closer than they were before t
  10. Hello John and thank you for your questions. The Walker 1903 scheme provided two Diapasons on the Swell. The Open Diapason (standing on the lower pressure soundboard) was in fact the Hill Great Open Diapason No 1. In its new position inside the Swell, it was of great beauty and effective also as a solo stop. Bairstow is known to have enjoyed its use as such with the tremulant which is certainly most effective in the acoustic. The Violin Diapason stood on the higher pressure soundboard (which also served the strings as well as the reeds); it is a brighter sound. At some point in the 196
  11. Good to hear about your nephew, Dave. I hope he’s having a great time. What a wonderful opportunity for him! Yes, Consecrations are normally about two hours long and this one was a double one, of course. The Archbishop is a brilliant supporter of the Minster Choir (whose front row of choristers was missing of course this time, being half-term). He wrote the psalm in question though I’m not sure if there is a significant amount of other music written by him.
  12. How lovely to hear all of this, MM! The cycle trip is quite something at 14: fantastic. FJ inspired so many. His performances of the St Anne attract universal admiration, and your comments about the late Carlo remind us all of that sad loss both of a performer and an advocate of the instrument. As to York’s organ, I can see that no further discussion will be useful until you visit when it’s back! I wish it wasn’t so long to wait.
  13. Thank you, Dave. And congratulations to the new bishops. I was sorry to be absent for this particular Consecration which fell during our (one-week-later-than-most) half-term.
  14. Thanks for clarifying both re pre-1960 and more recently, MM. The Walker 1960/FJ work resulted in so many wonderful (and iconic) recordings and of course Francis’s legendary playing and accompanying were at the heart of these. What an absolute legend he is and it’s extraordinary to think he is in his 102nd year! We are so fortunate in all respects to have Cocker, Willan, Mulet, Bossi et al. They were, and remain, such an inspiration alongside the other recordings. The north west door lends its own distance to the (very far away) sound, of course; please come and visit again next yea
  15. Thank you for these thoughts, MM. I wonder if I might ask if you heard the York organ in the flesh prior to 1960 and if you have heard it since 2012 when the original Great flue wind pressure was restored? I completely agree with you about the Schnitger sound world and how that is linked inextricably with the favourable positioning at the west end of the church. I’m also aware of the relative dimensions of the crossing and lantern in York.
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