Ian Ball

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I'm flattered, but, well, I was less than excellent at the time and that's what I paid him for More seriously though, it does indeed illustrate your point. The NBA was still fairly new back then and everyone regarded it as Perfection. It was therefore so refreshing to have thinking musician-scholars like dear David suggest alternatives or Peter Hurford point out 'wrong' notes and misprints. The famous passage in the G minor I always take with the left hand. Your F# min idea sounds fun and logical. I shall try it! Often so tricky to know how far to go in Buxtehude because of the many editorial decisions taken by those transcribing the tablature. And it's not that so easy to play from the original...

Yes I do too - a David Sanger recommendation and jolly effective.

My brother was organist there whilst he was an undergraduate. He said the post-Mass sherry made everything else tolerable I think they've gone digital now.

A different take on old English instruments is the Walker organ at Oriel, of 'older' style than Jesus (although again with some concessions to modern repertoire) and very successful. PCND, you can judge the old Jesus College Binns yourself: it's up Marston Rd, where John Budgen installed it with modifications in St Michael & All Angels. If Romantic organs are your thing, then the better Oxford organs (at least in my day) were Wadham (gorgeous Father Willis), the Town Hall (4-man Willis); Keble (yes it still just about worked and was fabulous); St Mary & St John's Iffley Road (1914 Norman & Beard in west gallery); and Mansfield (largely untouched Vowles in a stunning Champneys case, although unloved in the late 80s); and of course St Peter's lovely little Willis, mentioned earlier. With apologies to our hosts, I always preferred the old Magdalen instrument, despite its mongrel nature and heavy case. It's been given a new lease of life by St Edward's School. Of the ones I never played but looked good on paper at least: Balliol (x2), Somerville (small H&H) and St Clement's Church Martson Rd (large 4-manual Martin which appears to be in a sorry state according to NPOR)

But why would you want to play Vierne and Widor et al on it [Jesus, Oxford], when there's an equally rich native repertoire for which the instrument was created, which works superbly, and when you can play the former 10 yards over the road? It's an English Classical organ (with the concept extended downwards in the pedals for more flexibility, modern hymn performance and choral accompaniment, no doubt). At least this instrument has STYLE and a unique voice, something sadly lacking in some more eclectic designs. I never got bored of the Real Thing in Gloucester (St Mary de Lode), even with the constraints of a short compass Swell, G-compass Great, no strings, no doubles and one pedal stop. And may I stick up for Exeter? I like it. It does what it set out to do, and when I last played it (circa 2004) it sounded pretty refined and far closer to the Real Thing than some so-called Cavaillé-Coll copies I've heard, notwithstanding some inevitable compromises. Moreover, it was in every way an improvement on its predecessor! I found it musical, sensitive and exciting; an organ that made me want to play it for hours (in the right repertoire) and be taught by it.

Indeed! It was Ian Fox's idea (DoM, King's School). Chamade on a turntable. We liked it! However, the eventual (and considerably simpler) solution seems to satisfy, as you can all hear at the moment on iPlayer in Parry's F&F in G, beautifully played by Ashley Grote.

I agree. "Better" would have been more appropriate! Too much Château Severn Valley...

The old British trick used to involve a screwdriver and a can of hairspray...

At least St Peter's College eventually saw sense and courageously binned theirs (albeit dating from the late 80s!). Their reconditioned little Willis is certainly one of the best instruments in Oxford, set in one of the best acoustics too

This is so sad. The mind boggles at such a wasteful, misguided approach. I remember this organ very well. My first organ teacher, the redoubtable Norman Harper, and his wife Marilyn were Organists there during the mid-80s. Heard several stunning performances there (including a wonderful recital by Jennifer Bate) on what was a world class instrument in excellent condition.

Hmm. I find the registration wearisome after a short while, wonderfully colourful though it is. And if you want to 'French-it-up' it doesn't go far enough for me. Surely the descending pairs of [slurred] quavers cry out for Purcellian/Lullian Lombard rhythms (Scotch snap, to you and me)? It all sounds far too 'stiff' for the colours he's using. A bit like hearing a French menu read out in a Sächsisch accent. Then again, didn't JSB once complain that French musicians were too mannered in their playing and used too many ornaments? So perhaps this is a fair and authentic compromise!

Yep. Drawstop. Bottom right, nuzzling up to the Cymbelstern. Perfect and totally authentic for In Dir ist Freude. Marcus used it to good effect in Duruflé's Op 12 in last week's broadcast. Great fun.

How, exactly? Left hand Harp makes fine entrance exactly as required at 6'54"

Well a harp is called for in the Willian Introduction, Passacaglia & Fugue, and would certainly spice up Bairstow's Blessed City. Bath Abbey certainly makes ample use of its Glockenspiel

This disc is now available for purchase on Amazon here

There's a fine 16' regal on the Brustwerk on Clifton Cathedral's Rieger. In a big chorus it adds a whiff of sub-unison, as if a quiet 5 1/3 flue is playing (Kynaston made use of it like that in his famous Bach disc). It could never pretend to create a 'full swell' effect, especially with the Swell mixture being a universe away in pitch. But as a solo voice it is fine, either alone or with a flute or two; as a bass voice, it is also useful (in combination with 8 & 4 flutes, for example), but doesn't speak very quickly so that rules out some obvious potential uses. But the wretched thing was seldom in tune and despite being able to tune it whilst sitting at the console, it was always too much trouble...

Thanks for this, Pierre. Beautiful. It makes a most interesting comparison to the near-identical (and much less altered, over the years) organ of St Mary de Lode, Gloucester, restored by John Budgen in 2004. (The CD is in the post to you, Pierre!) I look forward to hearing the Jordan/Mander in Southall. Ian

Wasn't it (in Hill's case) to reinforce the bass and to give 'bite' when the Swell was coupled to the pedals? It is particularly effective in his smaller organs.

Was never there in my time. Could it be that the cameraperson put it there to photograph the quire/east end??

I don't think it's in the public domain yet, no.

It can be done though - the design of the ill-fated Walker organ case in the early 90s was lovely; the proposed Tickell case design altogether more stunning and in perfect harmony with the building. However, many architects prefer windows to organ cases, or demand modern 'statements' that will date quickly. Let's hope all the ducks line up nicely at Manchester. The results should be wonderful. My two-penneth on the current instrument, for what it's worth, is that whilst the aisle cases cannot be seen from the centre nave, they are obvious from everywhere else in what is basically a broad, square building. Hideous grey wardrobes. Tonally, I always liked most of the organ, but the Great is the poorest division. Very little to love there. Significantly, it's the division that's been tinkered with the most, with only limited success. I understand that the current proposals include integration of more current pipework than just the 32-foot curtain shakers in the Jesus Chapel As an aside, it's a great shame the 1860 Nicholson was put in the wrong place in Manchester - it is a wondrous machine in every respect. It's also a pity for old John Nicholson that many people assume the instrument's current sound (in its new home at Portsmouth) is down to the modern Nicholsons. 90% of it isn't, I remember it well from its Bolton days. And the Solo Ophicleide was originally intended as a chamade reed for Manchester, but got lifted up in a last minute change. IFB

Thank you. Very kind of you to take the trouble to post this. Jeremy's wonderful disc with this title came earlier; Christopher Stembridge's before that, I think. As the title comes from poet, Nicholas Brady, and has been used countless times, I don't think I can be sued for 'passing off'!

"Ich sitze in dem kleinsten Zimmer in meinem Hause. Ich habe Ihre Kritik vor mir. Im nächsten Augenblick wird sie hinter mir sein." Max Reger to Rudolph Louis, critic for the Münchner Neuste Nachrichten, after reading a bad review published on 7 February, 1906. ("I am sitting in the smallest room of my house. I have your review before me. In a moment it will be behind me!")

Sorry - Ebay selling novice. All sorted and plenty available! Thanks for the nudge. I'd be grateful, Fiffaro, if you would kindly edit your posting to remove the quote, so that the amended link in my original posting directs people to the right listing. Thank you Ian