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Ian Ball

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Everything posted by Ian Ball

  1. Likewise - apologies for misinformation. Was going from a conversation with Michel Gaillard in my pigeon French!
  2. Bernard Aubertin has made a speciality of fractional length reeds, with cylindrical resonators and leathered shallots, which produce strong, stable notes with lots of fundamental. They take up very little room. There are several examples at 32' pitch. Can't recall whether they are 1/4 or 1/8 length, but they sound superb!
  3. Go and play it. A stupendously good instrument, hugely improved by the (not-so-recent) rebuild. And, for my personal taste, more pleasurable to hear and play than Coventry, and more versatile.
  4. Although, these days, both firms are making luscious post-Romantic style instruments rather successfully. Had the privilege of hearing the new Musikverein Rieger on Sunday (Hindemith 2nd Organ Concerto and Strauss Alpine Symphony). Magnificent, although not the steadiest wind, nor sufficient 32' flue fundamental to support Strauss' Alpine Symphony. Nevertheless, some beautifully classy 'new' colours (i.e. back to the '20s) and light years away from Clifton, Christ Church, Smith Square and The High Kirk, beautiful and classy though they can be. And the mobile console... my my. Mirror finish, eb
  5. Forgive me. I didn't realise you were also qualified in cut'n'paste.
  6. Alternatively, you can talk to an employment lawyer. Send me a PM. Most of the above is completely wrong.
  7. Absolutely electrifying. A musician who plays with his ears. Loved it.
  8. Hear hear. One simply wants an adequate bass to the manual stops when accompanying. Balanced independent choruses are not only completely irrelevant but undesirable, since one accompanies a cathedral choir by using the organ like a giant one-manual, perhaps leaving one keyboard free for uncoupled solo effects occasionally. Even that might be a rare thing, since an enclosed Solo division will usefully be coupled down for many things. So, one might be moving mainly between Swell and Choir (with So and Sw coupled to Ch) most of the time, with solos played on the Gt flutes or diapasons. Or one cou
  9. No - that's in the left hand
  10. Blackburn Cathedral Lunchtime Organ Recital Wednesday 2 November, 2011 at 1.00 pm IAN BALL (Worcester) IN MEMORIAM Music for Reformation Day, All Saints & All Souls J.S. Bach: Ricercare à 6 (from The Musical Offering) arr. Jean Guillou Maurice Duruflé: Prélude et Fugue sur le nom d’ALAIN Ferencz Liszt: Funérailles (from Harmonies poétiques et religieuses) arr. Kynaston David Briggs: Attende Domine (from Le Tombeau de Duruflé) Naji Hakim: Gershwinesca Admission free; retiring collection
  11. Thank you. I couldn't have replied better myself to such a condescending and largely irrelevant post, and I certainly have no intention of justifying my opinion or posting my CV on this forum. But by way of postscript, one should not assume that the Clifton Cathedral organ is 'adequate' for the building (depending on your definition), or that it stood a chance of ever being so. It was the best the Diocese could afford at the time, and is an improvement on the original intentions of the Diocese and architect. Like the BH organ, it is intrinsically a fine instrument, but the circumstances surrou
  12. Oh. Forgive me. I must remember to blame the engine next time I drive an under-powered 'family' car, or blame insufficient RAM next time I use a slow computer being sold for gaming.
  13. Remember to turn your hi-hi up to 11. You don't want the neighbours complaining that the BH organ is too quiet.
  14. St Mary's Episcopal Cathedral, Edinburgh: Great Stopped Diapason.
  15. Well, assuming that this post isn't satirical and also assuming for a moment one doesn't subscribe to the 'Frasier' attitude that the 'snob factor' is a positive boon, keeping 'classical' music (or wine, polo, skiing etc) reassuringly exclusive, I would subscribe to the Bernstein/Goodall attitude that music is music, particularly for a lengthy summer festival such as the BBC Proms, where entertainment value is important. Given that much 'classical' music these days incorporates styles and techniques pioneered by 'pop', I think it's a good thing that diversity is being championed. And if it get
  16. Tuesday 26 July, 13:10 - 14:00 Bath Abbey Summer Prom Series Ian Ball (Worcester) J.S. Bach arr. Ball: Sinfonia to Cantata 29 G.F. Handel: Extracts from Tunes for Mr Clay’s Musical Clock W.A. Mozart: Fantasia in F minor (K608) Zsolt Gardonyi: Mozart Changes Naji Hakim: Gershwinesca Admission Free Console view via video screen
  17. Neither adjective sprang to mind hearing Stephen Farr's prom.
  18. I know what you mean, Sean, but he who pays the piper... The church rarely holds organ recitals and asked for 'popular' pieces. So I deliberately chose a programme one seldom hears these days: the kind of selection Noel Rawsthorne would play, especially for those unused to organ music, and which first drew me to the organ in the '80s. The Widor was a request; two couples in the audience were celebrating wedding anniversaries. Actually, I've never played BWV565 in a public recital (what a good opener it is!) and rarely programme the Widor without other movements from the same symphony. It
  19. Ian Ball at St Mary Magdalene Parish Church, Church End, Twyning, Gloucestershire, GL20 6DA Saturday 23 July 2011, at 7.30 pm. Admission: £8 (includes interval wine) The last organ built by John Nicholson, restored in 2004 J.S.Bach: Toccata and Fugue in D minor (BWV 565) Handel: pieces for Musical Clock Mozart: Fantasia in F minor (K608) Schumann: Study in C (Op.56/i) Elgar: Allegro maestoso (from Sonata in G) Interval Boëllmann: Suite Gothique (Choral; Menuet Gothique; Prière à Notre-Dame; Toccata) Vaughan Williams: Rhosymedre Gardonyi: Mozart Changes Widor: Toccata (from Sym
  20. Oh so would I - but I'd rather spend that sort of cash on a 4x4 or a loft conversion. We were discussing the benefits of reed organs as budget home practice instruments. As for those who believe there is "no intrinsic variety of tone" - it all depends on the quality of the reed organ and the breadth of your expectations. You get as much variety of tone between [reedy] 'Clarabella' and [reedy] 'Gamba' as between your Stopped Diapason and your Koppel Flute; your Portunal and your Open Flute etc, which is fine for learning the notes. But you also get an independent pedal division, 16' stops
  21. It astonishes me. One has total control over the attack and release of each note, an action resembling the best large old tracker organs, and quiet stops so as not to disturb the neighbours. If only the concept had been properly developed: the incredible voicing and subtly of the best Mustels (blowers) with the practicality, size and robustness of the best Holts or Rushworths (suckers). [i am taking for granted a full pedalboard and electric blower/sucker]. I would never give up my reed organ for a toaster, even tho it can sound a tad Pugwashian in the wrong repertoire (who cares when you're j
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