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Damian Beasley-Suffolk

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  1. This is a link to the lady herself. She has quite a performing portfolio - ventriloquism, puppet shows, and carillon playing! A short description of her "kamerbeiaard", living room carillon, which explains that it is a carillon console with xylophoone-like tuned bars. Google translate is your friend here. Kamerbeiaard – Lydia Zwart
  2. And of course I immediately found this: Studie in deeltijd (beiaardcentrum.com) and this
  3. This travelling carillon is owned by the City of Prague and apparently makes regular tours, especially in Holland and Belgium. I know, and have seen, relatively small practice carillons used in carillon schools. Essentially they are a set of tubular bells with a carillon console. They pop up on local news programmes from time to time here in Holland, and one was for sale a couple of years ago. I thought about it, then thought about what my wife might would say, then thought no more. Typically, I cannot find any photographs of one, despite looking for a couple of hours. Traveling Carillon Prague – Reizende Beiaard Praag – Pražká mobilní zvonohra | SingingBells.com (wordpress.com)
  4. I understand that Gustav Leonhardt went to considerable lengths towards the goal of Historically Informed Performance, including living in an (almost) historically informed manner. He was not alone, of course. As for gut strings, they're quite common for baroque performers. My wife has a violin and a couple of lutes with gut strings. Temperamental things, take ages to tune, go out of tune as soon as the humidity changes or you breath on them - you spend half your time tuning, and the other half playing out of tune - and they break easily and regularly. Many have strands of copper wire or nylon through them as supports. https://www.gramophone.co.uk/other/article/harpsichordist-and-conductor-gustav-leonhardt-has-died
  5. Yes, I was indeed referring to HW as "the builder", with all the certainty of the dilettante that I am, when apparently choosing a soft-ish and deformable metal to make such enormous pipes, which are regularly repaired on similar instruments as they collapse under their own weight. I still think its odd - but what I think may be unreasonable. For comparison, I had in mind the similarly sized front pipes of Birmingham Town Hall, some 50 years older, which appear not to have suffered the same fate. I know they're made of zinc, confirmed in Thistlethwaite's "The Making of the Victorian Organ", but I can't find a reference to something I thought of as a fact, which is that Hill invented the 3-roller sheet metal roller to make these pipes, and which has now become a standard tool. Happy to stand in the firing line, that's how you learn :-)
  6. I doubt whether this makes a noise, or was intended to, I've been here a couple of times and there was no wind. Sibelius Monument, Töölö, Helsinki https://maps.app.goo.gl/Ln2gtTsZ2RBq9dps9
  7. Running repairs rather than a bodge job. Although the latter may apply to whoever it was who decided to make such a structure from such a material when building the AH organ ...
  8. Touring organ! Ah ha! Thank you for the prompt S_L. Some time ago, for reasons unknown even to me, I was trying to find evidence of a touring organ which I'd read about, and which had eventually found its way to New Zealand, I thought Dunedin. But I could find nothing. This comment rekindled that thought, and within a few minutes I'd found it. What was originally "The Bathurst Mammoth Cathedral Organ" built by HN&B is indeed now in Dunedin Town Hall, known as Norma, and apparently in good order for a centenarian, although probably less mobile than before. Even if well known to everyone on the forum except me, it was still fun finding and reading about it. Dunedin Town Hall Organ "Norma" (cityofdunedin.com) Norma's 100th 'Birthday Bash' to be a blast | Otago Daily Times Online News (odt.co.nz)
  9. More of a cross-over musician here, I heard this last week on BBC 6 Music's Freak Zone with Stuart Maconie. Quite intriguing: Ståle Storløkken – Ghost Caravan CD/LP | Hubro Music As I write (Sunday evening) I'm listening to the same programme, currently playing a piece for harpsichord, electronic guitar, and some percussion I didn't get the name of. The harpsichord playing is a bit Poulenc-ish, which should be accessible to anyone who can play harpsichord/organ and fancies exploring a bit.
  10. It's a "Ship of Theseus" question, with the addition of the item still being in use. Apparently in the US there is a specific "ship of theseus" tax fraud, where people restore old cars beyond all recognition and sell them as vintage cars with the accompanying tax concessions, but incorporating so little of the original that they are essentially new and in fact subject to higher tax. But who wants the Inland Revenue to decide on this question for organs? I would have no doubt that the Willis now in Leiden is a Father WIllis. Despite its travels it wasn't essentially altered while elsewhere in the Netherlands. Willis gave it a thorough rebuild with a couple of additions, but really only replaced the worn out components you'd expect to. Nothing needed to be undone or re-created. It sounds marvellous here, but of course in a completely different acoustic from its original home. Equally, I'm sure that Farnborough's Cavaille-Coll/Mutin will come out of Willis's current restoration sounding just like it did when it was installed, and will only be thought of as a genuine CC, just with the normal repairs expected over time. Manchester's CC is different. Reading the Flentrop publicity, I understand that the electric action is to be replaced with a copy of the original. I guess this will make it more of a CC, because I think that the sound formation is pipes + action. Although the pipes themselves are much more significant, there has been plenty of discussion here and elsewhere of the difference in attack from electric chests, and of course the difference to the player's touch. I think changing the type of action, rather than simply restoring or renewing it is much more significant. Going back to the original style of action will certainly make it more authentic if not actually original, and probably result in better pipe behaviour, so it would be reasonable to keep calling it a CC. In other situations where, for example, pneumatic action had been replaced with EP action because the original was unrepairable/inaccessible/never worked properly anyway, I'm not so sure people would be terribly worried about authenticity if the "authentic" or original version was of limited value. At least the change of location for the Brighton Willis might not result in significant need to adjust voicing, for example. The Leiden Willis came from a more or less coastal location in Liverpool to a similar location here, and Brighton and Cambridge are both at sea level and with similar climates - apart from the bitter northerly winds in the Fens. This minimises the potentially irreversible messing around needed. swalmsley is right in saying that present builders are very accomplished at dealing sensitively with historical material when asked to do so. It's both admirable and delightful that such restorations are documented thoroughly and made available on their websites so that everyone, including enthusiastic dilettantes like me, can enjoy and appreciate the work.
  11. I have a copy of Stanford's Toccata and Fantasia with a note from him which says precisely this. It's also in the IMSLP version. His performance instructions, such as they are, "... must therefore be regarded merely in the light of suggestions." In leaving so much to the discretion of the performer, and from what little I know of his personality, I get the impression that he rather looked forward to hearing what other people made of his music.
  12. Not actually 3D printing, but milling them out of a block of wood. Here aktuelle Projekte (o-h-r.com) is a link to the Orgel- und Harmonium Werkstatt Thomas Reilich in southern Germany, not far from where I used to live. He does a lot of work with harmoniums, documenting almost everything on his picture-rich website, and one particular project is enlarging a John Holt harmonium with some real pipes. The pictures here show stages in making pipe feet, and some small flute pipes, from a composite block of wood using a milling machine. I read many years ago that small wooden pipes can be expensive to make. Perhaps this can cut some costs. I've seen milling machines in organ workshops before, of course, as well as pipes made from all sorts of materials, but hadn't seen this. As an aside, during one visit to the Early Music Festival in Utrecht many years ago, we met an English lute maker who was displaying the heaviest lute I've ever held. He said it was an experiment with an old block of wood. He noticed that it was about the right size for a lute, so sculpted one from this solid block rather than go to the bother of sticking all those thin strips of wood together. Sounded nice as well, subtly but noticeably different from a normal lute, and presumably handy in a lutenists' duel when their notorious arguments about historically informed performance get out of hand 😉
  13. The copy I have is in Anne Marsden Thomas' Graded Anthology for Organ, vol 5. There are some interesting notes. On the score, it says "Pedal part originally written in tenor clef, an octave higher, to sound on 4 trumpet", and the study notes indicate that the 8' only registration for the manuals seems inadequate if the pedal is bright. I'm no musicologist, but these points are interesting and suggest different interpretations and the opportunity for exploration. As it happens, on my electronic the pedal 4 reed is a quite gentle cornet which goes well with a single 8' principle, which I realise may also not be what was intended, but it sounds nice. An interesting link, by the way, thanks.
  14. The Ethel Smyth "Erschienen ist der herrlich Tag" is a nice piece of music, the relatively gentle 4' pedal reed on my instrument seems to bring the melody out nicely. To my dismay, it is the only piece of organ music by a woman composer that I can find in my collection. One thing strikes me - did Ethel Smyth have particularly big hands or long fingers? There are a couple of stretches which I can barely make, which doesn't happen often.
  15. Something tells me to make it clear that what irks me is music done badly or without preparation, not styles of music or people, which vary greatly, and good intentions are never doubted, as mentioned above. I don't think anyone wants discussions like this to become a shooting gallery. My wife, when working as a paid church musician, puts it well when she says that she has often been asked to play music which she doesn't like or wouldn't choose herself, but liking it isn't the point - the important thing is to prepare everything carefully and then play it as well as you can, for the purpose and intentions of those who chose it. I like this.
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