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Ian van Deurne

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Everything posted by Ian van Deurne

  1. Well, I myself play Liszt's "Ad nos" which I started to learn in my early twenties. But being such a monumental work, in fact it was the first major piece from the 19th century that I wanted to learn, note perfect, but I wasn't able to commit it fully to memory for five years before I decided I was ready to perform it for the first time in public (although of course I was also learning many other pieces as well). To me, I still regard it as the greatest single organ work of the nineteenth century, maybe because I was so young when I first heard it at an organ concert at the Münsterbasilika in
  2. I don't know why someone hasn't yet invented a way to register an organ using a smartphone. Surely there's going to be an app for it shortly. That way I can set up all the stop changes at breakfast before I even get to the church. The turn on the blower and just play. If set up correctly the organ will change the stops at the appropriate time that the music requires. If any subtle changes are required for the closing hymn/anthem, they could easily be done on the smartphone during the sermon. Yes, I think this is probably the way forward for the 21st century that we're now living in!
  3. Yes, it has been (sort of) preserved. Well, more or less just dumped there, probably because so many of the most famous French organists (not just Vierne) have played it. However, I too have always thought that the modern console was totally out-of-keeping with the style of the Cavaillé-Coll case. In fact it might now be found more financially and aesthetically more astute to take the Vierne console out of its shadowy resting place and restore it to its full original glory. If this was to happen then I know a great many organists who would welcome this more than just enthusiastically, especial
  4. In my young days working for Johannes Klais, such a "thing" would never have been contemplated, especially because as has already been said here that it resembles something from the realms of a pipeless digital instrument!
  5. Re Anloo - I don't know this organ myself but I do know of it. It is essentially by Arp Schnitger but it might well have been altered somewhat throughout the centuries. Arp Schnitger died in 1719 so it also would have been completed by someone else. However, Schnitger never actually employed "pupils", he didn't need to because he had two very capable sons who had learnt the trade from him. And because this is the Netherlands, it could only have been finished by either one or the other person. By far the most likely is his youngest son Frans Caspar Schnitger (1693-1729) who on his father's deat
  6. What I meant by a fully fledged and independent instrument was firstly, the fact that until the mid 19th century, there was not one organ built that had any pipes exclusively made for the pedal organ which had remained completely unnecessary so far as English organists were concerned. The organ built for the new St. Paul's Cathedral in London by Bernhard Smith in 1708, although provided with three manuals still had no pedals, let alone any pipes of its own. It wasn't until 1720, on the request of Georg Friedrich Händel that an attached pedal to the Great manual was provided to enable for him t
  7. My grandmother, who was an organist and teacher once told me that she had attended a concert by Widor at Saint-Sulpice when she was 18 years old (which would have been mid-to-late 1928) and he played both the 5th and the 9th Organ Symphonies with some other smaller pieces between. She told me that the tempo he used for the Toccata in F was "somewhat slower than how most people play it now, it lasted about 6.50 minutes if I remember it right" is what she told me. I myself have played it frequently for both weddings and the occasional funeral but not for quite sometime. It seems to be out of fav
  8. Well, my eldest daughter's a girl and yesterday she played Max Reger's Choralfantasia on "Ein feste Burg ist unser Gott" from start to finish without stopping. Now if ever one piece of music could be classed as severely masculine, that one has to be a serious contender. When I showed her that article this morning, she just shook her head, smiled and said "What a load of flippin'* nonsense*. What are women supposed to do then, just stand there and polish the stop knobs?" * she didn't actually use these two words but much stronger expletives! With best wishes, Ian
  9. You're looking at the principles of doubled unison ranks the wrong way around. The organ chorus in Europe developed originally from the so-called "Blockwerk" which contained multiple ranks of Principals, Octaves, Quints, Tierces of various pitches, combined with Mixtures and Cimbels which gradually became "stopped off". The early organs from the Baroque period, especially in the Netherlands and Northern Germany re-introduced this arrangement for the higher ranks in order to boost the treble power somewhat of the instrument to enable it to perform the new task it had now been given: namely to a
  10. The earliest tremulants were to be found in the area of Europe that now occupies north-eastern France and Flemish Belgium, in fact the same area where the pipe organ as we know it today was first developed during the mid 15th century. The first examples were built into the main windtrunk(s) which meant that it normally affected the entire pipework. It was during the 17th-18th centuries that this effect was more gradually refined, enabling the effect to be confined to the secondary departments, although many organs built late in the 18th century would usually contain at least two tremulants: on
  11. "Boying" the bellows reminded me of a particular church service that I was 'volunteered' for by an organist friend of mine who was going on holiday abroad for three weeks and needed to find a substitute performer. Although he had never told me this before I waved him off at Manchester Airport the week before, was that this service was not going to be just a normal Sunday service but it was, in fact something that I hadn't heard of at the time, a 'patronal festival' kind of service which meant apart from the usual hymns and other pieces, the choir was going to sing a full-scale anthem as well a
  12. Oh yes, dear old Sir Christopher Wren positively hated organs, referring to the St Paul's instrument as "that damn box of whistles" apparently when the original siting of the organ was up for discussion. Given the fact that he designed so many of the churches in London after the great fire, you'd had thought that he would have got quite used to them!
  13. Well, although I know that it might be completely incorrect, the RAH organ is still known throughout the world as being built by Henry Willis, with some enlarging and revoicing by Harrison & Harrison in the 1930's. The organ in St Pauls' Cathedral, however, is acknowledged to be a complete re-interpretation of the original Willis organ by Noel Mander so it should rightly carry that builder's name. I heard too that Noel Mander really wanted to restore the historic Smith case and return it to its original position on a gallery between the nave and the choir as were most cathedra
  14. This is entirely the point that I was trying to make. Thank you Tony. With every blessing to you too Ian.
  15. Okay, let's get this Gedackt thing sorted. This spelling is the correct German generic spelling, which can mean several things in English: covered, lidded, or more correctly in the case of an organ, stopped, meaning that the pipes are of half length and made in both wood or metal, normally with wooden stoppers. Apart from very small chamber or "Truhenorgeln", meaning "Trunk Organs" in which the 8ft and 4ft pipes are always made of wood, I would more than usually make these pipes in metal for a full-sized instrument. The prefix Lieblich in English also has various meanings: soft, gentle, which
  16. The role of Prince Albert and his influence in raising awareness of German organ building practices in England seems to be either just forgotten or thought not to have had any particular significance anyway but this is untrue. As already mentioned, Prince Albert was an organist of some merit. It was he for example, that had the organ originally built for George IV in Brighton Pavilion moved and installed in the Banquet Hall in Buckingham Palace, presumably because he wanted to have easy access to a reasonably sized instrument each day to practice on. His invitation to Edmund Schultz as well as
  17. I attended a master organ performance class given by him during the summer of 1978 and I learnt much from the experience. In those days his performances weren't so idiosyncratic as they became in his later years, especially with the playing of Bach and other Baroque organ composers. I last heard him perform on the Flentrop organ in the OLV Kerk in Breda about ten years ago where he gave an all Bach concert. Although it was quite fascinating to listen to, many of the tempi and registration selections I thought were just more than a little strange, bearing in mind that this is a modern organ, al
  18. I first met Peter Hurford when he was the organist at St Albans Cathedral. This was during my music student days. I already regarded him as a great musician and performer, and I soon found that he was always willing to listen to me and offer good advice if I spoke to him about any questions or difficulties that I might have had over my own organ performance. He was one of the only English organists that I knew of that played Bach's organ works as if it was music from his own homeland, he understood it completely. And if I was working anywhere near where he was giving a concert, I would always
  19. I have a pipe organ anorak. I use it when I arrive at a church to tune the organ and the place is as cold as Siberia in winter. Then you are expected to tune the thing so it sounds perfectly wonderful by the time Sunday comes and they have whacked the heating up to maximum. Experience over the years has taught me how to tune the reeds sharp in order to compensate for this somewhat but its always going to be a bit hit and miss! There again, this is really another subject altogether.
  20. I also agree that Francis Jackson should be knighted. If that was to happen it would probably restore my belief in the system. I was lucky to meet the man on several occasions when I was just starting out in this game and to this this day I have never forgotten the help, advice and support he gave me. I am therefore so glad to hear that he is still actively performing, despite his advancing years and I will make a new year resolutuion to go and hear him and perhaps meet him once again I am also surprised/delighted/astonished to hear that Her Majesty might also take the time to perform on
  21. My own criteria when designing organs are as follows; VOX (Voix) CELESTE - Narrow-scaled string, tuned sharp to beat with similar scaled pipework, usually on Manual III (Schwellwerk / Oberwerk) VIOLE CELESTE Of larger scale, tuned sharp but slightly slower, designed to beat with a larger scaled string. Again on the Swell division UNDAMARIS - Wider-scale, tuned flat and designed to beat with either the principal or secondary 8ft rank of the department (eg.Gemshorn) and slower than a sharp-tuned
  22. While we're on the subject of theatre organs, it might well be worth remembering that a certian Rudolf Wurlitzer of Cleveland, Ohio first obtained his patents from Robert Hope-Jones of Birkenhead who had been unsuccessful in this line of building in the United States, before he committed suicide. I'm glad you like the Standaart organ in Scheidam. I played it several years ago and found it to be quite charming, as well as made to a very high quality. I also see on this board that the Hoofdwerk, fractional-length Viool di Gamba reed at the Grote Kerk in Alkmaar has been mentioned as bein
  23. Adriaan Standaard (1882-1958) was apprenticed to Michael Maarschalkerweerd (1838-1915), of Utrecht, builder of the organ in the Concertgebouw, Amsterdam. He founded his own firm in Rotterdam in 1904 and at first built instruments mainly for churches until around 1920 when the firm started to concentrate on theater organs, intending to supply silent films with matching music. A few of these instruments still exist e.g in Scheidam. The firm built most of their organs in modal form, with uniform windchests and tonal specifications and could supply organs at a low price because of this cheaper w
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