Jump to content
Mander Organ Builders Forum

Dafydd y Garreg Wen

Members
  • Content Count

    125
  • Joined

  • Last visited

Community Reputation

0 Neutral

About Dafydd y Garreg Wen

  • Rank
    Advanced Member

Recent Profile Visitors

782 profile views
  1. Part of the problem is that we use cathedrals for a purpose they weren’t designed for. They weren’t built in order to accommodate large congregations (and certainly not large congregations who are expected to sing with organ accompaniment). They were built large, not to be filled with lots of worshipping bodies, but for the same reason they were built beautifully - for the glorification of God. To the extent that their size served a practical purpose it was that of allowing the clergy to conduct the large-scale processions that were such an important part of worship before the Reformation whil
  2. Fortunately here, in this part of rural Wales, things musical and ecclesiastical are reasonably healthy, and as near to normal as could be expected. Services every Sunday, apart from the recent hiatus (encompassing three Sundays). The Welsh organ ban was ridiculous, but it was rescinded in August. In the absence of singing, congregations seem to be taking more notice of and be more appreciative of organ music. The Welsh government has been very slow to allow choral singing, but that ban too has just been lifted, and our choir is raring to go. Tuners are working normally. Fi
  3. Thanks to the help of several kind persons (to whom my gratitude) I have now managed to obtain a copy of this piece, which I’ve been looking for for several years.
  4. The greatest one-that-got-away must be Renatus Harris’ scheme for S. Paul’s: http://www.stephenbicknell.org/3.6.17.php If something like this had been implemented (granted that Harris’ proposals are over the top), British organ building would have leaped forwards to a point it didn’t actually reach until the 1840s. With the S. Paul’s instrument as an example and model, pedals (inter alia) would surely have caught on much sooner. The course of musical history would have been very different.
  5. The thread about Arthur Wills put me in mind of Michael Howard’s Evocation (Salve Regina). Can anyone help me obtain a copy please? It was published by Oecumuse, but it is not among the titles that Geoffrey Atkinson of Fagus Music inherited from them. (I asked him a while ago - as someone mentioned on another thread recently, he is indeed a very helpful person.) Judging by the David Price recording I could probably reconstruct it myself, but I’m a bit lazy ....
  6. By contrast there are said to be over 5,000 towers with bells hung for full circle ringing, the indigenous tradition.
  7. There’s also Manchester Town Hall: https://dove.cccbr.org.uk/detail.php?DoveID=MANCHSTR+T
  8. As well as the Guildhall, there is another one in Hull, the 25 bell carillon at Holy Trinity: https://dove.cccbr.org.uk/detail.php?DoveID=KINGSTN2+-
  9. The quality of streamed videos on the British Pathé site (as on similar sites) is deliberately degraded. The original quality is “only available to customers licensing content for use outside of the home” (site FAQ).
  10. Thank you. That rather confirms my impression. The instrument I referred to does a good job at pushing out plenty of noise to support congregational singing, and the relatively resonant acoustics temper the sound in the body of the church. But playing it solo was rather unsatisfying. Not the subtlest of instruments!
  11. The Rushworth and Dreaper Apollo reed organ, which had electric blowing and a conventional pedal board (and draw stops), is worth a mention. http://tardis.dl.ac.uk/FreeReed/organ_book/node22.html The only one I’ve played makes quite a racket, but in a resonant building it’s a reasonably effective (and compact) substitute for a pipe organ. Having a pedal board was useful, but it was clearly in need of an overhaul. I recall playing the same instrument as a boy when it was in better condition - I doubt it had had any attention in the intervening years. I suppose the question would be wh
  12. Assuming that the rest is in reasonable condition, it’s easy enough to undo a stapled volume, replace the cover with fresh card, and then sew it up: https://www.dartmouth.edu/library/preservation/repair/dartmouth-book-repair_manual_sewing-single-signature.pdf I finish off with self-adhesive linen tape (archival grade!) which reinforces the spine and protects the exposed thread on the outside: https://www.stix2.co.uk/product/self-adhesive-linen-tape/ If I’d known it was that easy I’d have started doing this years ago. Bound volumes are harder to tackle (whether traditio
  13. Quite, especially as some of the pieces in that collection are actually quite difficult! And someone really looking for simple voluntaries would get a bit of a shock on acquiring the Album of S.V.
  14. Some of the weaker (but still perfectly acceptable) pieces in this series resemble written-down improvisations - but that’s fine because they give me ideas for my own improvising! I do so agree that the standard of the series is high - much better than similar volumes from other publishers (one in particular, whom I shall forbear to name).
×
×
  • Create New...