DHM

The other details are perhaps more interesting than the case, but we'll have to wait until Christmas 2014 to hear it. Three out of four manuals will be enclosed: Man 2 "Schwellwerk" for German Romantics, e.g. Reger & Lizst; Man 3 "Recit" for French Romantics, and Man 4 "Orchestral/Solo" with English/American sounds including a full string chorus, high pressure reeds and the Tuba Imperialis! For those that can read German, it's all here: http://www.musik-konstantin-basilika.de/neue-hauptorgel.html.

Talk to "hecklephone". He might have some useful tips from recent experience.

It may not be as much as one might think. When I was importing wine from the States some years ago, the cost of sea freight was a drop in the ocean (forgive the pun) compared to the huge costs of trucking it (heavily unionized and regulated) from the winery to a seaport.

At risk of being very quickly shot down in flames, I would venture to suggest that there is a much simpler solution available - without any of the necessary compromises and work-arounds referred to above - that enables teachers to teach, and students to study, literature from a variety of countries/schools/periods on appropriate instruments: French Romantic repertoire on a Cavaillé-Coll, German Baroque on a Silbermann or Schnitger, Reger on a Sauer, English on a cathedral Father Willis, etc. In these days of cost-cutting I am surprised that more educational institutions have not yet availed themselves of it. Douglas.

It was working perfectly for me earlier today.

http://www.worcesterstandard.co.uk/story-O...reer-40118.html

Apologies if my enquiry offended or embarrassed anyone. I deliberately kept it vague to avoid that happening.

Is anybody at liberty to comment on what did, or didn't, happen at Blackburn last week?

Yes, it was. I wouldn't want to do it that often, but it does have its moments.

This organ http://www.organartmedia.com/bosch-schnitger has the couplers labelled in what we would consider the reverse way, i.e. Ped-HW; Ped-RW; and RW-HW. The latter couples Manual 2 (Hoofdwerk) down to Manual 1 (Rugwerk).

When doing some research recently (see here: http://www.mander-organs.com/discussion/in...showtopic=3036), I discovered that he had written considerably more than we ever knew. Some pieces were issued as supplements to Musical Times.

Moral of the story for any foreign parts (including English-speaking ones): Do a recce yourself or, at the very least, talk to someone who has done, who knows the building, the instrument and the right people. Only go to places where you speak the language, or have someone with you who does, and whose linguistic competence you trust. Talk to the resident organist beforehand (overseas phone calls cost virtually nothing these days). Get specifications and, if possible, pictures. Send them your programme notes with dates and times. Personal contact is important. I would never leave it all to a tour company, however experienced.

They have been around for a number of years now; not that recent. But I agree, they're pretty good. Might his initials by either HB or GB? I was a customer of the former and at university with the latter. But still not in the same league as the other system mentioned above (which anyone in reach of Rochester is welcome to come and try out).

Correct. It's sample-based, as are all the European and American mass-producers, except Eminent. CH, to the best of my knowledge, still uses Musicom hardware which is a variant of the Bradford University additive synthesis system (which, even though now seriously out-dated, can produce very good results in the hands of a voicer who knows how to get the best out of it, of which there are 2 or 3 in the country). More's the pity, though I think material and labour costs would make a UK product uncompetitive price-wise compared to the German and Canadian suppliers to which we are currently limited.

It has just been announced that Makin acquired Copeman Hart yesterday. The two companies are to be run as separate entities, though Dr Keith Harrington will be Managing Director of both, and Ernest Hart will remain as a Director of CH.

Sounds very useful. He's a customer of mine, but I didn't know he also did that kind of thing.

Possibly because there is another system available today which does the same job far better and is light-years ahead in terms of sound quality (and considerably cheaper). It's also ideal for academic institutions precisely because of the flexibility and realism it offers.

Hi Lucia, Some of it might still be available, but not much. Send me a PM if there are particular pieces you are looking for; there are multiple copies of some items. Most of the collection is going to two other board members (you know who you are - I haven't forgotten you, and will be in touch again shortly). Douglas.

I think that takes up most of his time nowadays, since the group re-formed.

I heard it last autumn and was not impressed. And I have been similarly unimpressed with that company's products. I consider these two brands to be considerably over-priced compared with their European competitors. The solution adopted at Salisbury last February was unique and - from the reports I heard - very successful.

I think you would find several members of this board with experience of recent developments who would argue that, as the old song says, "It ain't necessarily so".

Not so easy when you already have a long-standing family dinner engagement!

...which is why I wish I could be in Paris tomorrow for all the Cavaillé-Coll-related events.

28 July this year sees the centenary of Robert Ashfield's birth (Cathedral Organist at Rochester 1955-77 and of Southwell Minster before that).

See here for picture... http://ihrefelderdom.blogspot.com/2010/07/...-sie-haben.html