DHM

Is there any evidence to suggest that Ireland in F might have featured on the Matins repertoire list at St Barnabas, Penny Lane, Liverpool in the 1950s when the choir included a boy named Paul McCartney? Just curious....

Much younger - probably early 70s. I'm sure others will have more accurate info.

Indeed. As someone said to me in response to my post about Bobby Ashfield's passing 3 years ago, "The Old School is running out of members".

Paul, Would it not be slightly more accurate to say that the HW Forum strictly disallows discussion of other similar, competing, products? They seem to be fairly relaxed about other topics not directly related to HW. Regards, Douglas.

A system which we have previously discussed has a built-in record/playback facility which would include swell box control as well as all your registration changes etc - it simply plays back what you played, exactly as you played it.

So far as I know, it's only used for the 9:00am service on Sundays, which I'm told is more traditional. There hasn't been a choir there for years. Most of their worship services are led by a band (albeit a good one) and bear little resemblance to Anglican rites. The Vicar is a well-known evangelist and preacher. I had to play a wedding there about 18 months ago. There were so many missing notes that the requested music would have been impossible to play. Fortunately I discovered this at the rehearsal a couple of days previously, so I took my Hauptwerk rig instead. I was told that they have no desire to spend any money on repairs/restoration of the pipe organ and would rather replace it with something pipeless and portable.

I thought it was *twenty* thousand. Or was this a sequel?

Would that be the former director of the Tilford Bach Festival Choir?

Born 1943 in Washington State. Family were originally migrants from Denmark. When not teaching in California, he lives in a log cabin on an island in Puget Sound (just off Seattle).

I'm guessing he won't be needing to put it on his Christmas list; he presumably already has a courtesy copy. Those demo clips were of him playing the HW version of the organ, not the real thing. But that raises the other $64,000 question: how many people, listening to those demos, could honestly say they could tell the difference?

Hear. hear! They obviously haven't read Lynne Truss.

I wonder whether there might be a connection between the second sentence of this press release... http://www.salisburycathedral.org.uk/news....enews.php?id=83 ...and this: http://forum.hauptwerk.com/viewtopic.php?f=6&t=5920 ...which refers back to this: http://forum.hauptwerk.com/viewtopic.php?f=6&t=4545

Rightly or wrongly, I tend to rely on gut feeling (e.g. Does it work? Is it logical?) rather than what was actually written, on the basis that there may then have been no accepted way of notating what was expected/intended. A quaver upbeat in Behold the Lamb just feels wrong and illogical, bearing in mind the rhythmic figures that follow (and, at the time, a quaver was the only accepted way of writing that upbeat, whatever was actually intended - wasn't it?). As regards cadential Adagios, I tend to treat them more as indications of mood than of tempo.

This came up on another list, and I thought it might be of interest.... http://www.pfarrei-waldsassen.de/images/st...ition_orgel.pdf

Slightly off-topic, in that it's more choral than organ-related... Have any of you ever done (or heard others do) this Messiah chorus in a quasi-9/8 tempo, i.e. with (at least some of) the quavers played "inégale"? Having tried it a couple of time several years ago, I now find it near-impossible to sing it as printed (i.e. with the quavers "straight"). Could there be any justification for doing it "inégale" (apart from the fact that it works, and it's fun)?

I, too, have to confess that, not knowing where it was coming from, I also thought it sounded like a Victorian village organ.

You could fit France, Switzerland and the Benelux countries into it.

I apologise if there were too many generalisations in my previous post - which, incidentally, referred primarily to the Pacific Northwest, and the Puget Sound area in particular, rather than the West Coast in general. "The builders in question do not build neo-baroque instruments" Perhaps "neo-baroque" was not the best term to use, but I think most people will have understood what I meant. And no, I'm not necessarily suggesting the standardisation of organ keys (though I would have thought that bodies such as the AGO, RCO, ISOB, BDO etc, would do so). The main point of my argument (for which I fully expect to be shot down in flames by some, but would hope for some support from others) is that many of the smaller instruments to which I (obliquely) referred would be excellent for teaching, study and recitals of a narrow range of organ literature in an academic institution, but much less suitable for accompanying the liturgy. The specification of the new Pasi organ for Houston's RC Cathedral, on the other hand, would appear to be ideally suited for the latter as well as the former (and for a much wider range of literature).

As well as "piporg-l" there are also the PipeChat and OrganChat e-mail lists. These (particularly the latter) are very friendly. As regards new installations and building styles: one thing that has struck me is the profusion of "neo-baroque" instruments, particularly in the Pacific Northwest, where these seem to be in the majority (mostly by builders beginning with B, F and P). In some of these cases "authenticity" for its own sake has been taken to ridiculous extremes with counterproductive results (e.g. keyboards to fit the perceived size of 18th-century fingers). These are no doubt very fine for playing 18th-century repertoire, and possibly for hymn-accompaniment, but not much else. There seem to be very few Skinners (or similar) in the western states.

Might the "curious round church" have been the octagonal nave of Charlemagne's cathedral? VH and I were privileged to have taken part in the first-ever Anglican Choral Evensong there a few years ago, where the Mag & Nunc setting was Howells' "Coll. Reg." We were surprised by (1) Klais' radiating/concave pedalboard and (2) how "English" the organ could be made to sound, e.g. for Psalm accompaniments. The clergy were also very taken with the Sumsion communion motets at Mass the next morning.

Why is this choral arrangement (in CfC3) apparently so little used? Do many people use CfC3?

I have seen it spelt (or spelled) Gedeckt, Gedackt, Gedact and Gedacht. The first of those four is the correct (modern) German word for "covered" (i.e. stopped in organ-stop-speak). There would have been many regional variations in spelling - just as there were in weights and measures in different parts of Germany, and as there were regional variations of English spelling before it was standardised (standardized?).

Please forgive my being "picky" so early in the morning, but one needs to beware of confusing "Jugendchor" with "Junge Chor". The former is indeed a Youth Choir (based at the school where our friend teaches). The latter (title literally means "young choir") is a group of people who were once young and were students at the local university. They are also about to perform Parry's "Great Service" in D.

Sounds remarkably like a software program which I try to refrain from mentioning on this board (for which ND de Paris isn't yet available, but ND de Metz is).

I guess you didn't have time to try it out and see?(!) One could always make doubly sure by dropping Klais an e-mail.