contrabordun

Tennis, maybe? Although there also the volley comes after the service.

Am I just imagining it, or does the console appear to be on a trapdoor, Wurlitzer-style?

and I, for one, actually enjoy it more than playing voluntaries. Most other musicians do most of their playing in groups - I enjoy the aspect of making music with other people.

oh..sorry..too clever for me...

O come on, we must be able to do better than that! Plural noun for a collection of cathedral organists anybody? Organistas plenas? (just a feeble start - sure MM will find something, at least)

http://web16713.vs.netbenefit.co.uk/discus...ost&p=15204 et seq

Look, I'm sick of this, and I know others are too. Adrian Lucas has answered reasonable and courteous questions with good grace and patience. In his place I would long since have tired of repeating the same things in a forum, which, when all's said and done, represents nobody except its two dozen or so regular participants. Delvin, if you don't like what's been done - and if you have any evidence for the more upleasant things you have been implying - the proper address for your complaints is the Dean and Chapter of Worcester Cathedral, under whose authority the work is done and with whom the responsibility rests.

The mind wanders... ARCO: A Reasonably Competent Organist ASBO: A Stunningly Bad Organist Do you suppose Ede & Ravenscroft would stock the appropriate hood(ie) for ASBO? Presumably the lining is Burberry?

...technically, an amphitheatre is one where the seats go all the way round the performers ... 360° stop jambs? now that'd be an interesting console..

And so say all of us ... really good day out. Wonderful to hear and play such a superb instrument, and - echoing other posts - to meet the faces behind the names, real and adopted. Thanks very much. We were planning to go to Romsey but unfortunately couldn't make it...maybe another time?

OI! Yow lookin for trubul? Disgusted of Cradley Heath

Magdalen (Oxford) has such an arrangement.

and may well seem positively bizzare in another 100 years or so - so let's just get on and enjoy the music, although...if a composer has been firmly associated with a movement that caused suffering to people still alive or near descendents, maybe we should be just a bit aware of that

If you're using Novello, there's a missing accidental in the pedal somewhere in the third section...

Hear Hear! My favourite was his definition of a Positive Organ as a section of pipes voiced to supply the missing consonants in choral music.

Shouldn't that be Montre de 243.8cm?

Interesting argument. Probably strongest in the case of the original builder: I agree that M.Aubertin has the absolute right to build his organs any damn way he likes: he is also responsible for finding customers for them. However, when you're talking about an instrument that has been built, altered to suit different needs and is now being re-altered back to an earlier period: well I'm not so sure that the third builder has such a strong claim to responsibility for setting the working parameters. Anyway, I think if I were paying - or even playing - I might beg to differ with both the original builder and the rebuilder! Which brings us back to familiar territory: the tension between the liturgical demands the organ has to fulfil, the repertoire that the titulaire might want to be able to play, the desire to preserve - or return to - what has been handed down to us and thereby respect the artistic vision of its creator...and the budget.

Good to hear somebody say that - I can cope with the knowledge that there are superstar youngsters out there who weren't even born when I was struggling with the 8 Short, (and good luck to them, and I look forward to hearing them perform in the years ahead), but I do like to console (no pun intended) myself with the thought that each year I play better at the end than I do at the beginning Paul (aged 37 3/4)

I'd probably start here: http://imslp.org/index.php?title=Category:...ohann_Sebastian

The big difference - and I'm involved in running a volunteer-staffed organisation also, a theatre in this case - is (IMO) that whereas, when you, as a management, are paying people (and I mean a proper hourly rate, not an honorarium that might cover the travel expenses), then in the last analysis, you have the right to require that they not say, or do, x or y, regardless of whether x or y are beneficial or damaging to the organisation, or even merely inconvenient or embarassing to the management thereof. However, if people are contributing of their time voluntarily, then (again IMO) they are entitled to say or do exactly as they like up to the point where they are damaging the organisation (as opposed to embarassing its management, which is a completely different thing, although there is a temptation for a management to regard the two as one).

surely that should be <pedant mode> and </pedant mode>

hmm... I wouldn't got quite that far! I think it depends on your skill level! :angry: but it does get easier with familiarity...although I wouldn't say that Wachet Auf hasn't had a few note names added for belt and braces' sake

Yes, this is important - and it works both ways - the celebrant has to know that the organist knows that it's time to wrap it up, and will do so without leaving him/her standing like a lemon for five minutes. I recently had this problem with a deputising priest and a introit hymn. They were all 'in' and he wanted to end it with the verse we were singing, a fact of which I, eyes glued to the mirror of an en fenetre console in a west gallery, was well aware. But how to let him know that I knew? By the end of the verse he was waving vigorously and making dramatic throat cutting gestures from the chancel...

He was talking about Bärenreiter

Yes, we had it out to watch a few months ago. Despite much freeze framing, I couldn't quite manage to convince myself either way as to whether he was actually playing it or not. If not, it was very very well done.