justinf

Wow, what a fascinating post, Bruce! You kept my attention. I never realized 4' Clarions might break back and will have to keep an eye (or an ear) out for this. I always assumed reed ranks transitioned to flue pipes. Possibly the "Clairon-Doublette 2'" at St. Sernin cemented in my head the idea that high pitched reeds transition to flues, as night follows day.

Apologies for resurrecting such an old thread, but there seems to be no better place for this. I stumbled across the spec at Klais for a new/expanded organ in Malmö (2018) with mutations up through the 19th partial on the 4', 8', 16', 32', 64', and -- wait for it -- 128' series: http://www.orgelbau-klais.com/m.php?tx=225 Apparently you can have your "Neuvième mineur 7 9/17" and eat it too. What I don't understand in the more detailed PDF (http://www.orgelbau-klais.com/_klais/bilder/pdf/Malmoe_Pipework.pdf) is how some of these mutations can be drawn from the same rank. Are the 11th and 13th partials similarly off-unison that rank "N" can provide them both at various octaves? Can an 8' flute also provide the 19th partial accurately (unlike those theater organs that drew their tierces from unison ranks)? I always thought that such mutations had to be tuned absolutely pure to be effective, though I'm not sure how slight the fudging is here. More to the point, how would someone use all of these mutations? I appreciate that additional harmonics may strengthen a Cornet -- perhaps most usefully in the pedal where a sufficient number can give a convincing 32' effect -- but beyond that I am at something of a loss as to how to use them. I don't wish to stand athwart progress, but until I hear the thing my mind keeps returning to Stephen Bicknell's comments about "angry birds and alarm clocks."

Oh, that won't do, MM! Continuing with the recent Lancastrian theme, I'd have to respond that there's nowt wrong wi' owt what mitherin' clutterbucks don't barley grummit. Well, I'm not at all sure I used that properly, and in any case I'm all out of mock outrage in defense of baseball. While it is fun at the ball park or in the movies (e.g. Bull Durham, which was filmed hereabouts), I find baseball rather dull to follow on TV or radio. And so, back to Carlo... I only had a chance to hear CC in person once, at a concert on an indifferent hybrid instrument, but I found myself wishing he would give more recitals in the area. My impression was of a big man - physically, yes, but big of heart and positively bursting with love for the instrument. Part of his recital was fairly straightforward: Bach P+F in D, Dupre P+F in g, but I recall that later he hooked in some interesting MIDI sounds to the console and used them to great effect in a transcription of Waldteufel's Skater's Waltz. On the "Biggs-Fox" scale he definitely tilted the needle well over, but even when he played big he did so in a way which was tasteful and faithful to the music. As an ambassador for two sometimes tarnished brands--organs and Americans--he was just the ticket. (I nearly wrote "Yanks", but since Carlo hailed from North Carolina I think he would rightfully have haunted me for such a mistake.) RIP Carlo Curley.

St. Sulpice doesn't have one (!), but i remember chuckling over a "Bumblebee of love" on a different instrument, grace à Babelfish. I do like how the St. Sulpice "Trompette en Chamade" (caption under the first photograph) was translated as "Trumpet Wildly." Something gained in translation, there. Here's a video of the "machine hail" in action:

A few years back, CC made some reasonable arguments that the organ needed to adapt to modern society in order to survive. While I didn't agree with everything he said, it's certainly true that we are well past the days of Edwin Lemare daily entertaining thousands of casual concertgoers. At the time, CC seemed to be setting himself up as the modern, accessible ambassador for the organ. Instead, we got Klaus Nomi. Who knew that the diversity of organs worldwide was such a problem? Perhaps CC will chair the CENTRAL Central Committee to approve the Hauptwerk configuration which will replace St. Ouen, St. Paul, Salisbury, St.-Bavokerk, St. Cosmae Stade, Woolsey Hall and everything else. Once organs are completely fungible, we can finally focus on the progressively outré performers who occupy the bench. Justin pcnd -- About 14 years ago I had the chance to sing in Salisbury Cathedral with a visiting choir, but due to a scheduling mixup our organist was given no preparation time at all. "Zadok the Priest" was the first piece, so he had all of 22 bars in which to sort himself out on the Willis. I would have gone to pieces, but as I recall he acquitted himself with aplomb. I have nothing but admiration for you who can manage in such circumstances!

That's why I will feel completely safe if I ever post a video of me playing pretty much any piece of music. "Listen," I will say, "it's so poorly played that it must be parody!" Nigel, I'm afraid that you play entirely too well, even if I were to post the video on your behalf. Though what possible objection could they have had to your video? Your other videos (like "Nigel ALLCOAT Virtuoso Organist 2") are fortunately still available (and very enjoyable, too).

A while back a choir with which I sing grappled with similarly murky questions of copyright and legality when someone anonymously posted several of our performances to YouTube. The president of our choir wrote to Chorus America for advice, and although their reply isn't definitive and might not be entirely applicable in the UK, here is a summary: Placing a video on YouTube as opposed to your own personal or group site means the video is covered by YouTube's blanket license with BMI (definitely), ASCAP (likely) and SESAC (also likely). Since YouTube videos stream and cannot be downloaded (at least that's the intent), it is exempt from digital licensing fees which performing rights licensing groups are assessing on downloads. The following thread on ChoralNet contains some useful information (especially the original post, first two replies, and last two replies): http://www.choralnet.org/266800 YouTube has some boilerplate about copyright, but it's not very clear. The worst that can happen is that a copyright holder for a piece can request the video be removed, in which case, comply. Definitely make sure to ask the performers in the video that they do not object to being recorded and broadcast. If the recording is of a concert, you should already have secured performance rights for the pieces with BMI and ASCAP. [Not sure if this applies to church services, though. --JF] If the recording includes union instrumentalists, contact the union before posting the video. ["Bassoons down, boys, untils they shows us da money." --JF] I think groups like the Harry Fox Agency collect fees for things like digital downloads (iTunes, ringtones, &c.), and I can't imagine that would apply in the case Justadad described (see point #2). However, I am no lawyer and no expert in these matters. A friend who makes professional recordings once described to me the many licenses involved (including a mechanical license and synchronization license amongst others). Byzantine doesn't even begin to describe the rules, and the impression I formed is that you could probably make a felony case against just about anybody for any recording, if you really wanted to. The rules are ripe for some modernisation. They should be able to protect composers and publishers without threatening performers, friends, and enthusiastic Facebookers with the possibility of felonies and huge fines. The YouTube mediation method is a step in the right direction, but I sure wish the rules were simple and enumerated so that we could follow them easily, as I'm sure we all wish to do.

I just ran across this on YouTube: http://www.youtube.com/watch?v=kxaqkd6eqqk&fmt=22 After many years of buying Priory CDs, I really must look into their DVD line. Hopefully they are region free, because I enjoyed this immensely!

Here's one approach: http://www.pasiorgans.com/instruments/opus14spec.html

Just a quick story: I remember driving from college to Allentown, Pennsylvania one wintry evening to hear Gerre Hancock give a recital. Heavy snows in the Appalachian mountains almost forced me to turn around, but I realized it would be as difficult to head back as to press on. Since the recital was underway I wasn't permitted into the sanctuary, but an usher took pity and allowed me to tiptoe up a stairway to a gallery at the back of the church. The second half of the recital was given over to a sonata in four parts, improvised on hymn themes which were handed to Mr. Hancock in a heavy envelope. The sonata started with a brilliant fanfare on the Trompette en Chamade, which I quickly discovered was a scant few feet above my head and angled slightly downward. I was feeling a little drowsy after warming up in the church, but that chamade shook the cobwebs from my head and parted my hair down the middle! The improvisation itself was a revelation, as good as anything you'll hear in one of the finer Paris churches. Nearly twenty years on that concert and that brilliantly improvised sonata remain a cherished memory.

Thanks, mgp. I'll try out both changes tonight after choir practice. I appreciate the advice! Justin

I stared at Holz's post dumbly for several seconds before its import sank in. This is truly shocking and dismaying news to organists, singers, and music lovers everywhere. Thank you Gerre for your blessings to us, and may they be returned now to comfort your family as we remember your life's work. Justin

If anyone on the forum has a copy of Oliphant Chuckerbutty's "Paean" at hand, would you be willing to check some notes for me? I'm just learning this piece and I suspect a misprint in the score. Seven measures from the end there is a descending melody with three chords in eighth notes followed by two in sixteenths. The first of the sixteenth note chords is g minor (d+g in the left hand, g'+b♭' in the right) which is fine, but the second goes off the rails: f+a in the left hand with f#'+b♭' in the right. In a similar passage in m. 18 the g minor chord is followed by a diminished 7th, so I'm thinking of playing e♭+a with f#'+c'' in the right hand, which also restores the melody. Then again, m. 14 uses a sort of Neapolitan chord at the end of the measure leading to the dominant in m. 15. So, if anyone can point me in the right direction, I will be most grateful. Thanks! Justin

This instrument is only about ten minutes from my house. I missed the inaugural recital due to work (though I have a copy of the programme) but I will try to report back with impressions of the Ludwigtone at the next opportunity. Does anyone know of any recordings from Saint-Ouen which feature the Voix éolienne? I've always been curious about this stop, especially since the name was nearly unique for so long: Was this stop unsuccessful, and therefore not emulated by other builders? The Lausanne Fisk and the enormous Casavant at the Brick Presbyterian Church in NYC both include stops of this name.

My copy arrived today, at long last. I expect Jeremy Clarkson could have beaten the Royal Mail in this case while driving a clapped out Morris Marina, but no matter! I am very grateful for this thread, else I would never have been aware of the box set (which isn't available on the Amazon US site). Justin

I've read that Unda Maris stops are generally tuned flat, but the only one I know of in my area (paired with a Dulciana) is tuned sharp. Here is an unusual case: The Newberry Memorial Organ at Yale has no fewer than eleven celestes, with quite an interesting one by Steere: Orchestral Organ Viole d'Orchestra 8' First Viole Celeste 8' (draws #1) Second Viole Celeste 8' (draws #1 & #2) According to a recording by Thomas Murray, the first celeste is sharp, while the second is very sharp.

The most recent episode of "Leverage", entitled "The Van Gogh Job", featured the 4/18 Wurlitzer organ at the Oaks Park skating rink in Portland, Oregon. This unusual organ was quite an essential part of the plot, with one of the characters taking lessons on it in a sort of flashback. Plus, it's not often you get to see bad guys felled by an organ pipe. I believe Bravo carries "Leverage" in the UK, so hopefully this episode will air for you soon. While I wouldn't call it high art, it is light-hearted and fun.

This is a really interesting site; Thank you for the link! A good companion to it is this site, which contains the specifications of these organs (and many others) along with some interesting pictures. If you like, you can listen to the organs in one browser tab while reading about them in another. Justin

I just learned that the (Episcopal) Church of the Ascension on Fifth Avenue in New York City is receiving a new organ built by Pascal Quoirin of St. Didier (he of the rather striking and unusual instrument in Evreux). Apparently this is the first organ in New York City built in France, though as our host well knows, not the only one which speaks French! It looks to be quite a whopper: 99 stops, 111 ranks, 6183 pipes if the press reports are accurate, three manual mechanical console plus a mobile four manual console en amphithéâtre. Oh, and two stops en chamade facing each other across the chancel. I found it interesting that the NYC AGO page states that it was specifically designed to play Messiaen and "includes every registration called for by Messiaen." I wonder whether they were simply trying to build an instrument especially well-suited for Messiaen or whether they went as far as to try to copy the timbre of certain stops from La Trinité, e.g. the Récit Hautbois, the Positif Basson, especially in its bass range, or the Positif Quintaton of which Messiaen wrote so highly. It should be interesting to hear, when it is complete. Justin

By chance, I ran across a PDF which gives the composition of the Pedal Cornets (or Harmonics of 32' and 16', if you prefer) on the Holtkamp instrument at St. Paul's Episcopal in Cleveland. According to "The Stopt Diapason" #102, Compton provided not only a Polyphone but "complete working details of two pedal cornets," the composition of which is given below. The PDF has more details on pipe scales and the like, for those who want it. Pedal 32' Cornet C1 8-12-15-17-19-21b-22-23-25#-27b C3 8-12-15-17-19-21b-22-23-25# 1. 16' 8 Principal 2. 10 2/3' 12 Subbass 3. 8' 15 Octave 4. 6 2/5' 17 Independent: 44 pipes 5. 5 1/3' 19 Subbass 6. 4 4/7' 21b Independent: 44 pipes 7. 4' 22 Choral Bass 8. 3 1/2' 23 Independent: 44 pipes, i.e. 3 5/9' 9. 2 3/4' 25# Independent: 44 pipes, i.e. 2 10/11' 10. 2 1/2' 27b Independent: 24 pipes, i.e. 2 6/13' Pedal 16' Cornet: C1 8-12-15-17-19-21b-22-23-25#-27b C2 8-12-15-17-19-21b-22-23-25# 1. 8' 8 Octave 2. 5 1/3' 12 Subbass 3. 4' 15 Choral Bass 4. 3 1/5' 17 Extension of 6 2/5' 5. 2 2/3' 19 Great 8' Flute 6. 2 2/7' 21b Extension of 4 4/7' 7. 2' 22 Great 8' Flute 8. 1 3/4' 23 Extension of 3 1/2', i.e. 1 7/9' 9. 1 3/8' 25# Extension of 2 3/4', i.e. 1 5/11' 10. 1 1/4' 27b Extension of 2 1/2', i.e. 1 3/13'

Thank you again, Peter, MM and Heckelphone for your advice earlier this year. We were lucky enough to find another organ nearby (UNC Chapel Hill, just down the road), and a local organ technician was able to transport it for us at a very reasonable rate. Most of this organ is cone tuned, but as we just needed the gedeckt, he was able to set it to Werckmeister III to match the harpsichord. So it all worked out. I'm sorry to be so late in posting, but we just finished another concert which kept me busy and off the computer last month. Now I can rest for a bit, as soon as I figure out how to stop replaying the music in my mind. What makes a good musical eraser? Messiaen "Livre d'Orgue", perhaps? Or maybe I will find something tuneful enough to drive the passacaglia from Hindemith's "Apparebit repentina dies" out of my head. Maybe. Justin

Thank you all for your replies. I did contact a North Carolina organ builder who can move this organ, if the price is not too great for the groups involved in the concert. Today I will enquire with my insurance agent to see what transit insurance would cost (and crucially, whether such insurance would simply make the owner of the organ whole or indemnify me as well). I will be sure to report back, in case anyone else faces a similar situation. Justin

Just last night I was part of a discussion on just this kind of topic. Quite apart from the poor treatment of musicians, what you described seems to flout the law and the rights of composers and publishers. YouTube notwithstanding, even posting a performance video for free viewing can require payment to BMI, ASCAP, Harry Fox, and so on. I hope your letter prompts some reconsideration and you find an amicable solution.

In a few weeks, a choir in which I sing is partnering with a local chamber music ensemble to present an "historical Bach" concert, using Baroque instruments and performance practices. I have located a positive organ by Klop which can play at A=415 Kammerton, perfect for continuo in one of the Cantatas, but it lives about two hours away in western North Carolina. I would happily drive the distance to pick up and later return the organ, but the potential liability gives me pause. Does anyone on the board have experience in moving or arranging transport for an organ, even a small positive organ? Is it possible to purchase insurance if I move the organ personally, or is this kind of work best left to professional movers whose company will assume liability? Should I contact an organ builder in the region to see whether they can transport it? Justin

Pierre, the information you have at the ready never fails to enlighten. Here in the US we have a commentator named Michael Barone (not the Pipedreams host) who authors an almanac of American politics and who appears on television every election season. He is well known for his ability to speak from memory and in minute detail on the demographics, history, and geography of every congressional district. When news shows ask him about polling stations in the Wichita suburbs, or voter trends in Pennsylvania 15, or the effects of icy weather in the Chesapeake Bay area, he always provides an informed and meticulous answer. You leave him in the dust!