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  1. I believe Contrabombarde was asking about the photo of the 4 manual console at the end of the article in the National Churches’ Trust Annual Review, which obviously isn’t Holy Trinity Clapham. I don’t know about the organ pictured in The Times, though. EDIT: I was just watching the latest BiS video, where Richard McVeigh said that The Times photo was taken in York. Comparing that photo with this one … … that actually appears to be the case. (Unfortunately, there are almost no photos of the old screen console from York on the internet.)
  2. I’d say it’s the RAH organ …
  3. No, it’s the first one – "Hallelujah", has been restored. [Score (first page)] The whole suite was recorded by Marilyn Keiser and is available on Spotify (along with other organ pieces by Dan Locklair).
  4. Is there any other way to order the book than from the York Minster’s shop (which, at this time, doesn’t ship to the EU)? I’d be very much interested in purchasing a copy.
  5. Thank you for the replies. I had completely forgotten about Stanford’s note at the beginnig of the Fantasia and Toccata score. It just seemed so strange the first time I saw it, knowing how, at least on larger instruments, Choir is usually the I. manual. Or would this have been different on the instruments that Stanford knew and used? Unfortunately, the stop lists from St Patrick’s Cathedral, Dublin, and Trinity College Chapel, Cambridge, which can be found as part of the introduction of the Stanford Organ Album, give no clear indication of this. (On a side note, I am astonished that NPOR also doesn’t include any information regarding the division/manual question.) It may well be that the Choir was/is considered "least" important, but then again, I have never seen an organ with a Choir to Swell coupler (would be glad to learn of one, though) …
  6. I received my copy of the new Stanford Organ Album a couple of weeks ago. Considering myself quite a fan of Stanford’s (organ) music, I was very much looking forward to it being published and was somewhat surprised as to how many times its release has been postponed by the OUP (apparently all the scholarly research and the making of the arrangements must have taken somewhat longer than anticipated). In the past I already downloaded Stanford’s organ music from IMSLP and bought copies of his most interesting works, however, there were still some blanks to be filled. I wasn’t sure what the selection of music for the OUP album was going to be, so I was really happy to find some of my favourite little gems in here, plus the Te Deum-Fantasia, Op. 116/1, which I hadn’t been able to get a hold of before. For my part, I have known and played – apart from the Fantasia, of course – all of the included original organ compositions, but I must admit I don’t see myself playing many of the arrangements. I took the time to look up most of the originals (sheet music and recordings), and the arrangements, as well made as they might be, really don’t appeal to me very much. I find individual pieces either much more convincing in their original form as piano or vocal music, or simply just not interesting enough to begin with. I was very glad to find critical notes with a list of questionable spots, misprints or other things that had been corrected according to the autograph. There is, however, one place that remains somewhat unclear: in the Prelude on Tallis’s Canon (Op. 88 No. 6), bar 43, beat 1, there is a printed natural sign in front of the g in the RH, with g flat in the preceding bar as well as on beat 3 in the LH of the same bar. The Breitkopf & Härtel edition, available on IMSLP, has nothing in this place, but Daniel Cook (Vol. 1 of The Complete Organ Works, Priory) quite clearly plays a g flat which, at least to my ears, does make more sense. One other thing that bothers me with this new album, but also with some of the older editions of Stanford’s organ music, is to have inconsistent manual markings in the individual pieces. We find the usual Gt./Ch./Sw. in the original works, but I, II and III in the arrangements. I’ve also observed the same thing in the Stainer & Bell edition of the Opera 101 & 105. Which divisions do those Roman numbers actually indicate? Don’t most British three-manual organs have Choir as I, Great as II and Swell as III? Yet it seems that in the aforementioned cases “I” actually indicates Great (?). And what are II and III then? Could someone shed some light on this, please? Although this new OUP album turned out to be, at least for me, only partially new and useful, I very much recommend it to anyone.
  7. I’ve been using both on my Yamaha Clavinova and on a Viscount at school, so I’m pretty sure that they would work all rigth, as long as one is able to connect their MIDI keyboard to a computer. M
  8. There are also cheaper, similar options which I would consider, especially if I didn't have a proper organ console. First there is Organteq, but of course one shouldn't forget about GrandOrgue which is totally free! I would probably try one of these first. M
  9. There was a live broadcast from the Elbphilharmonie in Hamburg yesterday evening with Wayne Marshall giving a splendid performance on the Klais organ. The concert is still available on Elbphilharmonie’s YouTube channel:
  10. The CD is also available for streaming on Spotify, Apple Music and YouTube. M
  11. Dedication of the new Rieger-organ will be broadcast live on Austrian TV tomorrow at 9 AM (the video should then be available for another 7 days in the ORF-TVthek). M
  12. Thanks for the clarification. I'm afraid I was led astray by some internet misinformation and the rather convincing sound ... Didn't think this would happen with an "ordinary" digital organ ...
  13. This is the sound of the actual cathedral organ, as stated in the description under the video, and Nicholas Freestone is playing the 3-manual remote console (also seen here). The Viscount organ has a completely different look.
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