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Nigel Allcoat

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About Nigel Allcoat

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  1. Just an observation concerning the question of turning the console round. When C-C created his instrument the pipes had to be all turned as well. Where C is on the console, the pipes must also be that side. Therefore when you view the case the C side is on the right and C# on the left. N
  2. I think that his influence upon French music was his passionate and correct influence within the Schola Cantorum (which he founded) and his collection Archives des Maîtres de l'Orgue. These are still perfectly usable with the players' present knowledge of 18th century registrations. His advice for sounds was based upon the symphonic organs of the day - and was really no different to the Novello publications of Bach that proclaimed all manner of British suggestions for performance.
  3. C to E are from a stopped 16ft and a Quint (5 1/3 of course - I imagined everyone would understand that), and perhaps an 8ft too. I can't remember about the latter. The 32ft effect comes from the two low mutations which he first used in Sarralbe (1987) an instrument that so overwhelmed the authorites in Vichy, they decided to purchase from BA. N
  4. Passing by here, I came across this post. This was the organ that I found completed in the workshop when I first encountered the builder and the workshop in September,1990. The first time that Bernard used a full length 16ft Principal is in the case of St Louis-en-l'Isle, Paris. It is to do with the proportions of the Golden Section and thus - as rightly pointed out - the five bottoms notes play a Stopped and a Quint. One is not at all conscious of this when playing as the voicing is impeccable. The Quint & Tierce provide a sound simiar to the Berlin Philharmonic double basses. The 32' Napoléon was added a few years after the opening and is so called after the founder of the modern-day Vichy, Emperor Napoléan III who, along with his son and wife are buried in the Crypt of Farnborough Abbey in Hampshire. I trust that this answers a few of the querries. Nigel
  5. It was always a post examination question (now and again) to give to boys at school - "What would have happened to European music had Buxtehude's daughter been born beautiful?" Having been in Marienkirche the orther day I ask the present incumbant if the tradition still persists. No! It died out as part of the job specification in the ealry 19th century he told me.
  6. My Italian teacher renowned for his foot-work always said that it you were able to walk to the organ then you quite able to play wearng the same. He chuckled when the class had to have a pausa whilst shoes were changed. That soon stopped after a couple of weeks.
  7. When I was a tiny tot, I remember listening on the wireless to John Betjamen visiting great and grand cathedrals. The choirs sang and the organ played and he so wonderfully described being there in the building. In some he even said where he was sitting to gain the best effect. The organ at Chester played by John Sanders has remained with me to this day. It was such a thrill to be able to play it a few years ago. Indeed, a wonderful musical machine.
  8. I wouldn't fret. Organmaster shoes goes under Nuts & Bolts, Nigel
  9. Edwin Lamare Op 91 Concert Fantasia upon The Sailor's Hornpipe, British Grenadiers and Rule Britannia, I had to find this for a recent occasion at Coventry Cathedral for the installation of the new Archdeacon who had been in a similar post in the Royal Navy. I have it if anyone wishes a PDF. Best wishes, Nigel
  10. It has been a dreary time for intruments. When I first had my house organ from abroad it was fine until the English humidity provoked a most odd reaction to the mechanical action. However, with some gentle adjustment everything has been trouble-free for the past 4 years. I bought an excellent humidifier for my study that gently wafts evaporated air and both organ and Steinway benefit so well from this. I believe that a good ratio is 20 degrees to that of 55/60 humidiity. It is also surprising how all furniture responds as well as the humans! (It was wonderful to meet you after my concert on Wednesday, Friedrich. I hope that you enjoyed it as much as I did. It was a most exciting occasion to play three organs in one concert under one roof. I hope the other 2 organs didn't feel too lonely and un-loved! All best wishes for your work and study this year. N.) All best wishes, Nigel
  11. I would contact Adrian Gunning and Keith Bance. The former is organist at St John the Evangelist, Duncan Terrace, Islington and together they have loving restored and maintained this iconic Walker instrument. If they can't help I really don't know who else might. Best wishes, Nigel
  12. This is what they want, and this is what they have got. Can we move on? NJA
  13. My main concern is not the cosmetic side of a console but the actual connection of player to instrument. Touch and action are of paramount importance. What it is clothed in doesn't interest me in the slightest, nor would it have done to somebody such as Langlais, I suggest. Players today seem to rely constantly upon pistons and steppers. Hand registration seems not possible on large instruments these days (from what I have seen) so the actual comglomeration of rows and rows of stops almost seem superluous. I view some American instruments (for an immediate instance), that a fleeting pull of one necessary stop, is like plucking a sapling from a forest. Has modern technology allowed the instrument to become an un-manageable beast without endless aids to control it? N.
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