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Everything posted by kropf

  1. Regarding technical specs of the Hannover instrument: Do not trust the german sources to much, even the interviewed organist mixes up the date of build (1902/1904). Schulte organ builders (near Cologne) have quite a reputation for importing English organs, sometimes redesigning them technically and optically. Some references given here: http://www.orgelbau-schulte.de/de/htmls/england_amerika.htm and on the home page http://www.orgelbau-schulte.de/ they say that they can rely on a pool of about 50 english/american instruments. And they definitely argue with the financial benefits
  2. Another one now inaugurated in Hannover area: https://www.orgelbau-huefken.de/aktuelle-projekte/hannover.html News report, images, and a brief video (after some advertising....) In his short statement the organist points out the organs' capability to accompany choirs very well. http://www.haz.de/Hannover/Aus-den-Stadtteilen/Sued/Suedstadt-Nazarethkirche-hat-neue-Orgel
  3. Interesting thoughts and ideas here. In Germany there are several compositions in print, which more or less successfully try to generate encounters for young audiences with pipe organs. They may appear as short musicals, stuff like "Peter and the Wolf" etc. A more recent activity was started following the listing of German organ building etc. as immaterial UNESCO world heritage. A small foundation around Jäger & Brommer organ builders runs the "Königskinder" project. The name (king's children) refers to the children of the King of Instruments. This project supports organists, parishes
  4. Here is some good news, which may encourage this forum, too: As announced yesterdy, it became possible for the manager of the named second german forum to migrate it to SSL encryption and to update the software. This was made possible by a donation. May all organ fora prosper in 2019!
  5. Hello everybody! After three years break, I am writing a contribution again.... I want to let you know that the provider of the second largest german-speaking forum (orgel-information) has announced to close down, as some work to be done regarding the need of https-encryption doesn't seem to him worth the effort anymore, as his forum has fallen into sort-of sleep, too. The dominant german forum (pfeifenorgelforum) is still busy, but also sees times of very little activity, and it is quite fascinating that one can't find any cause or pattern responsible for that. Facebook might be an issue
  6. Thank you for making me aware of this final verse of "O come". For me, personally, this song bears many remembrances to early services in catholic music in Austria, where I grew up, and in my following lutheran years in Germany. Both hymnals contained this piece, and as a singer I learned the nice Kodaly setting, too. This setting by Andrew Carter and so many other arrangements are constantly proving that the art of decorating and reinforcing congregational singing and hymns is at its highest in English cathedrals.
  7. Beeing one of the mentioned Rostock singers, I want to thank DHM for giving us opportunity to share this experience. It was among my toughest and most beautiful experiences as a musician. Beeing known here on the forum as admirer of Anglican church music, it was the first time I was part of a native performers group as a singer, which I enjoyed the more that I normally only conduct or play the organ at home. Having attended many evensongs at great places and translated it to our Rostock version, it was still an incredible challenge to cope the Ladies und Gentlemen of with Rochester Cathedral
  8. As most often, I have no answer, but would like to share the interest in it, as this question was risen regarding the organ I'm serving at. The fact, that the wind enters at the treble end at some soundboards was seen as an issue, as the wind consuming bass seemed to be under-supplied. As improvement improvement it was thought not to simply change the entry side, but to create an additional entry.
  9. Hello SlovOrg, thanks for your reply! The underground archive is a very nice find. And your Slovenia option made me think it over, and I tried IE instead of my standard Firefox - an idea I did not have before - so I finally could listen to Exeter Cathedral! Thus the problem is limited to a few cubic centimeters and I can fix it somewhere in the Firefox PlugIn area... Edit on Dec 20th: ....it happened today with the automatic installation of the latest Firefox version - I'm happy to join evensong audience again!
  10. Sadly, I cannot follow resp. share discussions of BBC3 Evensong anymore, as they obviously have cancelled the podcast possibibility for listeners abroad. I can understand copyright reasons, but for me it is a loss of a loved connection to Anglican church music. To hear the mentioned (and future) Norwich evensong would have been nice, as I've been there not long ago. Greetings Karl-Bernhardin Kropf
  11. Don't forget the interludes after everly line of the hymn - we do not exactly know, what happened when where, but there are so many examples of interludes all over protestant Germany. I even have some 19th century examples in our own church records here, providing two different versions at each line's end, so you could pretend (at least two verses long) you have the required improvisational skills. If you have a look at Bach's preserved Arnstadt Chorales and the interludes there (and you are aware that he was charged of irritating the congregation! It is even said in the records of his Arnsta
  12. So, you must have been lucky with your choice of locations! There are many books around with accompaniments for the hymns, 3-part, 4-part, piano compatible, lower for "older" generations and funerals (???), but the problem is, that weak players are heavily struggling with them in cases when the hymns have been scheduled very lately (at catholics often minutes before service starts - the dreadful electric displays for the hymn numbers make it possible...), so they decide not to practice or slow down too much and do freestyle harmonization. Even at players with church music diploma, you can
  13. Alas! Here and there I check the Ruffatti website. Little to read about new installations, but the "backstage" section has been extended. And in the "pipework" area, there is now a description of exactly what I was thinking about - scroll to the end of that page!
  14. Yes, of course, I was not clear in my reply. Even as a joke, it referred to music which could be played along to chiming bells, sought in the opening post.... The art of change-ringing is to be highly admired. Though those various kinds of mentioned artistry in Italy, which put the ringers often at a very high risk by getting hands on bells and clappers directly (youtube shows plenty of such scenes) are fascinating, too. But this strange system of English change-ringing, which is not commanded by musical means but mathematical patterns, is one of those things you can find on your islands o
  15. At least, "Ding, dong, merrily on high" should always work...? BTW, this is one of the English carols I could listen to/sing all year long. Is it just because of the foreign language that one can stand carols even outside christmas season?
  16. Mind that the variety of pitch in regard of temperature changes might affect the bell and your organ quite differently, so something that works in summer could be out of tune in winter....! But I'd like to point you to the most intimate connection of organ and a tolling bell: Harald Vogel recorded a very early organ piece on the beautiful late gothic organ of Rysum, East Frisia, Germany, the Redeuntes in mi by Conrad Paumann, and this recording features the piece as an overlay to a tolling bell in the root pitch. Vogel is sure, that during mediaeval processions not only the organist corr
  17. I do transpose the last verse very rarely. And upwards, of course. No wandering around in the between-verses, though I like the modulations of Rutter's "Look at the world"... ....but what I wanted to tell you, is one of the most amusing memories of a misunderstanding: Years ago, I was a visitor to a service in a small R. C. church in Northern Germany, diaspora, so. There is a modern song (well, from 1961), which is usually stepped up a semitone in every of its six verses. And normally, this is done by making the final note of the current verse the third of the modulating dominant seventh
  18. While beeing unable to reach such a level of poetry as Friedrich did, I think the news that such stops are to beinstalled in NDdP is a good one. I have access to an instrument, where a compound stop of 10 2/3, 6 4/5 and 4 4/7 (or some figures like those, i. e. fifth, third and seventh) really produce a sort of 32' Violone, at least on some notes and I do believe in the effects of strengthening the upper partials of a tone and thus carrying more far within the building. However, regarding mutations higher than 2 2/3', I do not see or feel this effect in primary, but more the change of colours.
  19. Having read about the general unequal tuning und the meantone division (something which is existing in Germany at least at three places, but all churches), I do not think that the typical use in combination with choirs and orchestra was ever intended. (And if it were, the advisers are in question... ) It may best serve alone and could beautifully add to programmes with Early Music, both as an accompanying instrument and with independent contributions. I do not know what you think out there, but I heavily complain the fashion of our decades to turn to chest or positive organs, when it comes
  20. I tend to turn off when the playing is boring, be it even on instruments with appropriate tonal resources (what happens much more often, in my ears). But I can understand that there might be much more longing for the correct resources in voicing and temperament when the area is filled with compromising instruments. In Germany, the majority of the new smaller and mid-size organs do now come with unequal temperament. When I was studying in Vienna (end of 80ies...), there was a fashion among the local builders with poorer voicing capabilities to use unequal temperament everywhere, as (nearly) e
  21. Hello! Hearing a very fine rendering of Purcell's Voluntary on an organ of the kind of Durham Cathedral is not what one would expect when opening the weakly BBC3 evensong stream. Beside that it makes a nice frame together with the opening "Remember not, Lord", it is simply played in a most perfect manner. Compliments to Francesca Massey. This recording confirms me in my attitude, that those instruments (and some of you are aware that I regularly sit an something comparable, though of poorer quality) are capable of much more than many do consider. German organists first would ask: How
  22. Oh, for German churches, like the hanseatic "cathedrals" of St. Mary's Lübeck and our own in Rostock, it is known that the traders met before the burse opened, and much business was done in the church, sensitive material (like wool) was stocked there ans so on. Buxtehude's "Abendmusiken" generated the use of civic police and complaints about couples using the relative dark of the church for things not beeing intended by the arranger.... In Lübeck there is still a room today, a small one above the Bürgermeister-Kapelle (mayor's chapel), where the parish does not have a key to it, but the city
  23. Thank you for finding this! Indeed, I wanted to link this article, but the link can be found on the German journal's website only within the members area.
  24. Thanks, MM, for your observations regarding chancel dimensions etc. Yes, the building styles are not really comparable. Speaking about acoustics, many do say, that not the west end is the best place for an organ in a large church (of traditional lengthy layout), but the "Schwalbennest" (translated with "blister"?), so a high position in the middle (or so) of the nave. Brussels Cathedral come to mind, Chartres, Strasbourg, Cologne, Regensburg (though beeing hung into the short northern transept), Worms, Trier.... (and some English installations make use of those effects, even if mostly bur
  25. Interesting view. On the continent, a majority of DsOM would like to get the choirs there, where they usually are in England or the Anglican places. It would suppose this is true for both protestant and catholic responsibles, as singing from balconies - which would mostly be the solution on the west end - is regarded as distant from the congregation, both acoustically and regarding worship, and allowing a "parallel life" up there. Many "Choir organs" have been purchased here in Germany through the last years, to have an alternative siting of the choirs without losing the possibility of organ
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