Ian Ball

I hope to get in to inspect the instrument over half term - will report back. IFB

Sorry to lower the tone with the 'F' word, but now that October half term is almost upon us, we must surely all be admiring Festive lights being strung aloft from Shire to Shire... Perhaps this might ease the pain: Sunday 14 December, 5.00 pm, La Nativité du Seigneur by Olivier Messiaen, performed by Ian Ball with Ruth Piolle (narrator) at St James the Great, Dursley, Gloucestershire. For those of you with degrees in work avoidance: http://www.facebook.com/profile.php?id=535...9641&ref=mf

I'm not sure Nigel's new Aubertin has one of those...

Yes indeed. I did dither about whether to put inverted commas around 'old' but decided against. It is an old skill but, as you say Nigel, that doesn't mean it is less necessary today.

But why is one seeking to do this? These 'O'-level definitions serve little useful purpose in fine art or literature (where, incidentally, in both arenas 'Romanticism' started in the 18th century). Rachmaninov has already been mentioned. Do we consider Beethoven Classical or Romantic? Is Scriabin Romantic, Impressionist or Expressionist? What about Goethe? Ultimately these labels are unhelpful. A Trost organ is as 'orchestral' in its own way as a Norman & Beard. However, (and apologies if I have misunderstood) I really don't understand Pierre's assertion that genuine Romantic organs were not 'experimental'. The whole point of Romanticism was experiment: opium, out-of-body experiences; loosening of structure, form and tonality; the advent of new instruments made possible by new technologies.

Absolutely! Besides, flutes and clarinets don't stop playing when brass and timps join in (and yes, I know the arguments about good composers using them at effective pitches but that isn't always the case in practice). I remember Malcolm Archer, at the height of his new-kid-on-the-block powers, demonstrating the Bristol Cathedral organ to me without using a single piston. I was astonished and delighted the old skills of hand registration were still alive and well

Good point. It's hardly an area of Guardian-/Church Times-reading concert goers (I'm not being a snob, I grew up there ), but with imaginative leadership and a good education programme, it might get a new lease of life. Alternatively, the organ could join the queue of excellent Victorian instruments seeking a new home. Alas my study's a bit too small... (and it really does fill the 1000-seater church with sound!) IFB

With respect, it came to a sticky end twenty years ago. This is the first viable proposal to emerge with any prospect of success. The £3M lottery cash is also intended to preserve the church fittings. I'm hoping that includes the Abbott organ. IFB

I agree. Not my taste at all. Emasculates the music, which loses energy and momentum.

Absolutely! I had the privilege of playing the Reubke and accompanying the Durufle Requiem on it a couple of years ago. Both worked hand-in-glove. Not just the gloriously butch tutti (with that unique Great Mixtur), but the delicate piano colours. It even has a Harmonica, as called for by JR. Love it.

A beautiful and beguiling sound, although I think I prefer the more silvery quality of the Wagner organ. It certainly doesn't sound strange, as I play a lot of Bach and pre-Bach on this, in St Mary-de-Lode, Gloucester, UK: Great long compass, GG, AA to f Open Diapason 8 Stopped Diapason 8 Principal 4 Fifteenth 2 Sesquialtera III (bass) (new, in 18th century English style) Cornet III (treble, from mid C) (new, in 18th century English style) Trumpet 8 (from middle C only. John Gray pipes circa 1820) Swell tenor F to f, in 'Nags Head' box Open Diapason 8 Stop'd Diapason 8 Principal 4 Hautboy 8 Ped Bourdon 16 (Bevington pipes) Shifting movement and usual couplers Rest of pipework pre 1800. Restored John Budgen, 2004. Thomas Young temperament. The tierces sounds wonderful in contrapuntal music, and certainly suit unequal temperament (although I usually avoid playing hymns in certain keys!)

I was taught that these notes should not be repeated by the RH (just as one might treat notes communes in a piece of Franck, Guilmant or Dupré), but released with the rest of the staccato chords. This ensures that the doubled legato melody here is a seamless legato. Bonne chance! IFB

McKie with a few additions here; a few subtractions there. Yes, we moved to Worcester last month. All best Ian

If anyone's in the Gloucestershire area on Saturday 27th September, it would be good to see you. Coffee & Cake Concert on the superb 3-manual Hill organ of Dursley Parish Church, 10.30 - 11.30 am Ian Ball (Worcester) PROGRAMME Bach: Prelude & Fugue in D major BWV 532 Elgar: Andante espressivo (from Sonata No 1 in G) Mozart: Fantasia in F minor K608 Briggs: Trio Sonata Hakim (transcribed Ball): Mihtar Youssef Walton: Orb & Sceptre Church website: http://www.dursleyparishchurch.org.uk/ Organ info: http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...51#PhotoSection

Interesting. I like successful compromises between different national styles. We've been doing it in the UK for centuries. Brahms, Rheinberger et al work just as well on a mid to late 19th century Nicholson, Gray and Davidson, Michell & Thynne, Hill, Whiteley, Wadsworth, Forster & Andrews, Abbott & Smith, Jardine, Binns etc. Thank goodness these builders' styles are now being appreciated again for their considerable worth (i.e. not just Willis & Harrisons).

Looks completely delicious. I absolutely adore Jacques van Oortmerssen's complete Brahms disc, recorded on the Cavaille-Coll-style Setterquist organ of the Kristine Church, Falun, Sweden (BIS-CD-479). Passionate, tender, moving and utterly convincing. Indeed, hearing Brahms on anything neo-classical, and without such style and subtle rubato, now leaves me cold. IFB

Well I'm delighted with the organ I bought from Hall Green Christadelphian Church via Ebay last October, with a view to installing it eventually in our house. It was cleaned and rebuilt (unrestored) in the rear gallery of St Mary de Lode, Gloucester in June, by Anthony Hall and his team from Clevedon Organs. Very splendid it sounds too from its elevated position. Although the antithesis of the 18th century nave organ there (recently restored by John Budgen), the congregation love it and despite its gentle voicing, it is bright, musical and perfectly adequate in hymns. Under a choir it sounds much larger than it really is and has remarkable variety of colour and finesse. The only addition I would make to reach the magical eight stops would be a Celeste (for home/choir use) or a 2' (for congregational use). Great Open Diapason 8 Clarabella (enclosed in Sw) 8 Flute 4 Swell Gamba (bottom octave Clarabella, stopped pipes mitred) 8 Gemshorn 4 Oboe (full compass, heavily mitred) 8 Pedal Bourdon (bottom octave mitred) 16 Few clues were revealed as to its builder, but some point to Wadsworth or Alex Young. IFB

erm...loyal members got offered the opportunity to take out an exclusive RCO credit card. Does that count? Oh, I nearly forgot, and the chance to congratulate yet more deserving Honorary Fellows, for whom a lifetime's dedicated service to our Art has spared them the vulgar exigencies of transposition, score reading, figured bass, improvisation, harmony, counterpoint, history, composition... I wonder if things would be different if K.B. Lyndon were still Clerk? If prospective members couldn't demonstrate they owned a decent fountain pen, I think they were barred for life!

But surely even the most simple meal for two intimate diners should include a decent mélange?

Oh but they did though, via the red button, together with an informative biography of Messiaen and information about the organ. Did anyone else swap to Radio 3 at the interval? They broadcast the pre-concert interview with Latry - extremely interesting stuff about his experiences of NDP and Messiaen (wish my French was as good as OL's English). I too was moved to tears by the Messiaen (particularly Alleluias sereins). It was wonderful to forget we were listening to an organ; this was some of the most elegant, poetic and persuasive music-making I've heard in a long time. And all from memory. Wonderful. But back to the organ... so good to hear someone taking informed, intelligent decisions about the registration: French Horn in Alleluias sereins; those sublime crescendi in mvts 2 and 4, adding progressively bigger strings to the left hand and gradually building up the fonds in the right hand (that's why you need 5 open diapasons on the Great!); and that incredible diminuendo right at the end. Blissful. I want to hear that at Wanamaker now! The Saint-Saëns was electric (although the Final was borderline too fast for the woodwind) with very good balance between organ and orchestra. Wish I'd been there in person! IFB

Ahhhhh! Thanks for the clarification. Delighted you're learning Venez Divin Messie - my absolute favourite

Pff. The tunes are immaterial in these things really...

Erm, wasn't that David Briggs's Sortie (as also heard in King's College Chapel, Cambridge)? Some might say you could be forgiven for believing it to be the work of M Cochereau...I couldn't possibly comment.

Yes, that's pretty subjective! Many of us, who have grown to know and love the Gloster organ through daily use with a choir, would disagree. IFB

Looks absolutely stunning, Adrian. Thank you for these fascinating pictures - an invaluable historical record. Can't wait to hear it! Kind regards Ian Ball