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Lausanne

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  1. However, many 2 rank celestes do have both ranks quite close and function perfectly well. My celeste is separated by just one rank (bourdon 8'). If the two undulating ranks are placed too far apart, then any temperature difference (caused by winter heating etc.) might noticeably slow or speed up the undulation. I've read of the idea that pipes playing close together tend to pull one against the other, but I've yet to hear a physics-based explanation unless their mouths are close and facing each other. The C /C# pipe planting has more to do with weight and space distribution on the soundboard than sound - though I hope to illicit some interesting comments to the contrary. Chromatic soundboards seem to sound the same to my ears.
  2. Did Laurie mean to refer to Olivier Latry, or is there another organist we have never heard of whose name is not helping his career?
  3. There are a couple of pictures of the organ and console taken earier this year on the web: pic.twitter.com/Zv7RwCyEIK with visible evidence of it being used at least from time to time. And a pic of the pipes looking quite safe too!
  4. Audsley (Vol.1 p. 513) says that it is usual to complete the last octave of Clarions with labial pipes. He also quotes the French Regnier who says that in France the alternative to using labial pipes is to break back an octave at the top and to make sure the Clarion is drawn along with the prestant 4' and doublette 2' so the break is not so obvious. Reed pipes above those of an 8' rank are often replaced by labial pipes because they are harder to manufacture, almost impossible to tune and to keep in tune, and require a certain pressure below which they are unstable. As the vibrating length of the tongue in this range is only a few mms it is also difficult to attain sufficient volume. The ear is also not really able to distinguish the difference in the upper harmonics between a reed and a labial pipe in this range (as was mentioned previously) so there is really no point.
  5. So, the answer to the original question is 'no, Nicholson decided/were advised to dispense with the free reed Clarionet 16'' '. Free reed stops are becoming very rare, I guard my 1878 Walcker Oboe very carefully, I don't care that it goes out of tune with the slightest temperature rise and that it does a creditable impression of a Harmonium. I'm just waiting for the organist of the Votive Kirche in Vienna to get fed up with his/hers so that mine is then the oldest in the world - well the oldest Walcker free reed oboe at least.
  6. According to the info included with Paul Derrett's 1989 recording the Solo Clarionet 16' is the original Anneessens free reed stop from the choir, or at least that was how Laycock and Bannister left it after their 1968 rebuild. I believe Nicholson's recent work has preserved all the Anneessens pipes.
  7. I refer the honourable gentleman to my previous post re finding a Tierce on a N&B of 1909. Although I agree the 1859 Hill specification for York has to be one of the oddest I've seen. And the general Tierce hunt has got its own thread now, but the game has some restrictions: A new organ built between 1895 and 1925.
  8. To keep the N&B 1909 Tierce topic free from our more general discussions, please use this topic if the (1895 - 1925) Tierce you have found was not by N&B. David
  9. Quite fascinating, Sir Fred obviously had ordered absolutely everything on the 'menu' of all possible organ stops at the time, but when it actually arrived found it didn't work as well in practice as he'd thought. The Tierce rank survived the next rebuilt by Harrison of Rochdale, but even he got into trouble over something. Finally Willis was asked to rebuild and then the independent Tierce was removed. The npor really is a wealth of information! I suppose we must class this as before the great octopod invasion when Mixtures were hounded out of existance in almost all new organs around the turn of the century. So perhaps we should limit our Tierce hunt to new organs built from 1900 onwards.
  10. But again, just so we don't lose sight of the original question, let's stick to N&B organs of 1909, or at least pre WWI, as our examples. It is more likely that the team carrying out the restoration are being fluid with the definition, as even if a 17th was planned but not put in, you cannot restore something that was never there in the first place. Perhaps they're just having fun 'enhancing' the organ. This was of course what DW was hinting at. Another question which might form a separate thread is just when independent Tierce and Nasard were first reintroduced into new Organs, so far the earliest I've heard of is 1924.
  11. Although this is listed as H, N & B 1928 at which time quite a few organ builders were experimenting with individual mutatation ranks, even my Tschannun of 1924 here in Lausanne had separate Nasard and Tierce in the Swell. In 1909 we know that Dixon was influencing Norman's work, but if separate tierces were being considered, I would expect them to have been in the largest instruments they were building at the time such as Johannesburg and Wellington and the only tierce ranks these organs originally had were as part of the Harmonics mixture. I might speculate that the historic records being quoted may have referred to 'Harmonics -Tierce' meaning a mixture with 17ths in it, and this was misinterpreted as a separate rank.
  12. The scale of the Great Bourdon 16' will be smaller than the typical scales used for a pedal Bourdon 16' and so the borrowed stop will not sound as full as a pedal Bourdon. The first octave of a rank of Viola da Gamba pipes is, I believe, below the compass of the baroque stringed instrument. Hence these bass pipes are renamed Violincello.
  13. It seems we have more evidence of influence on Italian organ building, rather than it influencing other styles. It has been mentioned some time back, but the Welshman George William Trice (born 1848) set up an organ building company after failing with his originally intended coal importing business in Genoa in 1880. He had trained with Sweetland of Bath and spent some time with Cavaillé-coll. His first organ partnership in Genoa was with Pietro Anelli and Zeno Fedeli in 1884 at the aptly named Quinto al Mare. They became famous for building a large organ with electric action at S. Andea, Genoa in 1888. One of their apprentices was called Giovani Tamburini, who of course went on to greater things. This might explain why some Italian organs of the late 19th and early 20th Century suddenly found themselves with stops called Diapason, Eufonio and Dulciana, amongst other things. Trice's action was quite a complex and costly affair, some sort of cone chest with Barker lever and coupled to him being foreign and Protestant, his business did not survive. But his influence did. There are one or two examples of his work still intact. The organ in the Waldensian church in Florence (originally the Anglican Church who moved to smaller premises but left their organ) is still going strong and spoken about with great respect by the Tuscan organ builders. However, like most things in Italy, Italian is best. They are very proud of their Ripieno.
  14. Sounds like the organist's 'A-Team', cue music...
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