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David Pinnegar

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About David Pinnegar

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    Encouraging enthusiasm for organs and their repertoire. Historic tuning.

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  1. As one stumbles upon thing on YouTube by accident I've found a series of recordings which are in my opinion truly outstanding. Exquisitely virtuosic andJonathan Scott plays without the flash of either of the American CCs. He seems to have a penchant for instruments with en chamade reeds. https://www.youtube.com/watch?v=sP246iXyQ44 https://www.youtube.com/watch?v=sZN6tnEr0aM https://www.youtube.com/watch?v=U9BO1dazswE https://www.youtube.com/watch?v=PLb4_K2aqkI In my opinion he's worthy of special commendation. Best wishes David P
  2. Thanks so much for this. Now searching Iberian Organs on Google you've opened up the can of mysteries. https://www.thediapason.com/content/early-iberian-organ-design-and-disposition has some interesting information about the disposition of the typical instrument. Not wanting to bore everyone in asking questions of interest perhaps only to the most obsessive of organ nerds I'll merely quote a passage which opens up some technical differentiation that looks rather fascinating to me, and perhaps leave others to ask the questions that perhaps all of us may or may not like to know the answers to - In my opinion looking sideways at lineage of other heritage can be really magic in bringing to life instruments as well as other interpretations, and giving expansion to sources and areas of enthusiasm. Best wishes David P
  3. 😉 Not at all! But are there experts on historic Spanish organs here? I've been fortunate enough to be able to look at a simulation of one or two and haven't been able to make much of a head or tail of them. What similarities and potential differences are there between the typical 18th century early 19th century Portuguese instrument and the Spanish? Best wishes David P
  4. Thanks so much. That makes sense. Another puzzle is that the largest pipe of each organ is said to be 7m tall . . . Bottom note on keyboard is C. In addition to ranks labelled 12 there's a Dozena. 8ft or 12th? Then a Quinzena so assume 15th. Then there's fun with the Cornets . . . Corneta real VI Corneta Corneta eco (echo perhaps) And rhyming with that a Rebecao Corneta Inglesa - V and VI versions Some Cimbala seem intriguing too, accompanied by Recimbala and Sobrecimbala. . . At Porto I was able to sneak a visit to the console of the monastery organ and photograph the stops of a more conventional nature than the set of 6. Best wishes David P
  5. Thanks. I thought Aberto was open and Cheio looked like stopped . . . until I saw Cheio IV and Cheio V with Cimbala IV and Recimbala IV And what do the 12 and 24 mean? Presumably the Flautado is a more flutey sort of Diapason like the French. And what might be a Flauto Romano? The appear to be quite exotic animals . . . Best wishes David P
  6. Thank you SO MUCH for the pointer to Mafra. What an amazing place it is - a palace generally unknown that's the equal of Versailles and, yes, six organs in one Basilica designed to be played together. Quite a spectacle. Perhaps one day it might be possible to hear them in person. Other organs in other places have similar en chamade trumpets and oboes. Notably at the university town of Coimbra and in Porto also. Coimbra https://www.centerofportugal.com/poi/st-michaels-chapel-of-the-university-of-coimbra/ 1737 https://myportugalholiday.com/coimbra-portugal/igreja-santa-cruz-coimbra-monastery-church.html - rather an extraordinary claim made there . . . The instrument at the Mosteiro de São Bento da Vitória in Porto is exceptional. The restoration of the six Mafra organs was sponsored by Barclays Bank and won the Europa Nostra Award in 2012 for conservation. A DVD and book is available about the organs with specification of each instrument. If of interest I'll copy out some specs. My knowledge of Portuguese being non-existent what does "Flautado de 24 aberto" and "Flautado de 24 cheio" mean? No doubt others may find others, recordings and specifications but these instruments are clearly a genre worthy of attention. Best wishes David P
  7. Are there any experts on Portuguese instruments? Many are reputed to be old . . . Does anyone have any information on the 6 instruments commissioned for the Palace at Mafra? All 6 appear to have En Chamade trumpets and apparently there was music specifically written for the set of six instruments that cannot be performed anywhere else . . . Best wishes David P
  8. I don't understand the problem with clicks on the Tascam recording. Rather than playing back on the Tascam and recording again on the computer, you should simply be plugging the Tascam into the computer through the USB cable, uploading the file and importing that file into whatever you want to edit it with, and save. A slow computer means only that it takes a longer time. Buffer sizes are of no consideration. Best wishes David P
  9. Well the organ on a wider basis . . . . but the English organ in particular . . . so there's room for manoeuvre. As for other organs being streets ahead, yes - the processional organs of Spain to be carted around the streets deafening everyone such as http://www.atmos.cat/perl?num=1444774635 in Catalunya. Perhaps here we're referring to pipe organs of greater complexity than mere 4 rank barrel organs The larger examples of the instrument and its repertoire is intimately connected with ecclesia. Best wishes David P
  10. With the recent proclamations from the Church Of England https://www.thetimes.co.uk/article/church-of-england-sex-is-for-married-straight-couples-only-vl60czphl the organisation appears to be one in the throws of death, trying to cling on to any mantras as mere flotsam on the waves in mistake for anchors. With the death of the Church what future for organs? In my opinion any organisation leading to the understanding of the Creator and the beneficial influence that this can have on people's lives needs to rethink itself away from the follies of blind interpretation. As religious discussion as such is inappropriate here I've written more about where such thoughts might take us on https://www.organmatters.com/index.php/topic,2307.msg10190/ as "The death knell of the Church of England and its organs" with thoughts that have been inspired by wise organists in the past. In my opinion religious discussion is really starting to be vital now as the instrument and the context in which it has its origins cannot be separated healthily. And currently the instrument is not in a healthy place. As people from outside the organisation we can voice ideas heretical within and through potential development of thought might possibly bring about some useful influence. Religious discussion on the outside is in my opinion vital and particularly necessary if not possible within. In 2011 I met John Mander at the conference in Zurich about the future of the pipe organ https://www.zhdk.ch/file/live/b2/b25444cdad0ca154bab33959608a50d0f6fe9ac3/orgel2011_programmheft_en.pdf and in my opinion the future of the instrument isn't in the debate between pipes and electronic, http://www.pykett.org.uk/statusoforgan.htm, but the raison d'etre supplied by the religion itself which spawned the instrument in the first place. Since 2011 the position appears to have been made worse by what appears to be the wilful misunderstanding of fundamentals and resulting self destruction by the Church of England. Some serious rethinks might be beneficial. Best wishes David P
  11. High humidity seems to lead to fog . . . so I did a quick google and https://www.sweetwater.com/insync/effects-of-temperature-humidity-live-sound/ seems a very rational explanation. Best wishes David P
  12. But the key colour doesn't come from the fifths. It comes more from the thirds and in 1/4 comma there are four of them so there's quite a lot of intervals to hit which tweak the ears - and one of the most extraordinary pieces to play in meantone is Mozart's 2nd piano sonata. The middle movement is an exploration of everything sour, sorrow, frustration, anger, inconsolate grief, and everything about being buried in the grave and coming to life again in the third movement. The Mozart piano sonatas are particularly revealing in meantone. It's not just the fifths nor just the thirds either, those close and wide semitones too. I'm sure I've mentioned before Mozart's fantasias for mechanical clock and which performed so fit the character of the context for which they were written - https://www.academia.edu/37951978/THE_COLOUR_OF_MUSIC_IN_MOZARTS_TIME_A_journey_from_Couperin_to_Chopin_Examination_of_reconstruction_of_Mozart_Fantasias_K594_and_K608_for_Mechanical_Clock Best wishes David P
  13. I disagree with the expressed opinion on Meantone that it's hardly different to Equal. Couperin deliberately used sour combinations of sounds so as to create crisis points from and to which his music lurched. The opening Kyrie of the second of the Masses for Parishes and Convents is a very good example and those with electronic laboratory facilities might well try it both in Meantone and Equal. Meantone creates sounds which are wonderfully on edge whilst Equal merely sounds nice. Sanitised. Best wishes David P
  14. Yes. Quite. The instrument itself, tonal variety, and acoustic may be so overwhelming that other more subtle qualities don't hit one in the face. I was trying to find a YouTube video of one of these 18th century instruments which added piquancy to the mix of awe. Possibly it's audible in the Bach D minor at St Maximin where some aspect of the sound has excited comments of the right sort, but was looking for something less "in-yer-face". Certainly here it's the instrument and the acoustic that overwhelms although there's an added something. Perhaps https://www.youtube.com/watch?v=FuW0Ik9H5TQ more pedantically but still to raise hairs on one's back. Perhaps https://youtu.be/P0-5e8qNzYk?t=631 might be that ingredient where the sound might not be so special but the tuning makes it so. Apologies for a St Maximin bias but the instrument has qualities which provide interesting examples. Best wishes David P
  15. I think their organ software is very much in the course of development but they specialise in software that's small enough to run easily on a laptop, and it does, and perhaps their recordings don't yet do it justice. Arguably in contrast the piano software is really interesting and is even introducing pianists not only to historic tunings but historic instruments into the bargain. Last year I ran a seminar specifically on piano tuning http://hammerwood.mistral.co.uk/programmetuningseminar.pdf and the afternoon session started with a demonstration of the piano software - if anyone's interested and in preparation for the seminar the ability to investigate different simulations of pianos and different temperaments was really helpful in guiding us towards how we were going to approach subjects at the seminar. It was a good tool. Specifically at https://youtu.be/s5cqS8ztMvY?t=598 is a direct demonstration of the Pianoteq simulation of an 1899 Bechstein contrasting with a real 1885 Bechstein. So much of the success of the success of the software depends on the nature of the keyboard in its physical simulation and the nature of the speakers. For the piano demonstration we were using Lowther TP1 speakers which did good justice to the electronic signal applied. (If anyone is interested to hear beyond the Pianoteq demonstration in publishing the video I was under instruction to disguise the voice of the Italian pianist which was an editing nightmare. https://youtu.be/18nzfGzdAD0 is an unedited recording of his explanations and demonstrations.) The bottom line therefore is that such simulation facilities can be really important as an introduction for people without contact with real instruments into the development of an enthusiasm which can flourish in the real instrument world. With the piano, my enthusiasm for tuning is for the reason of getting musicians to listen more to the sound that they are making, and to enable the music to communicate emotionally more. . . . and in that people will find relevance more with the classical repertoire. With organs the music is speaking with so much more variety, both of instrument and its acoustical context that perhaps tuning is less part of that overwhelming awe that the organ and its repertoire can bring. . . . or more conventionally But these instruments are a world away from one's average parish church . . . Best wishes David P
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