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Posts posted by Niccolo

  1. I've listened to the performance and I really enjoyed it.

    I think the organ handled the music really well, and I also thought the combination of accordion/bandoneon worked really well. I also find the Orgue Gulliver has a very wide dynamic range, especially for an instrument that only has one rank of pipes under expression.

    Overall I really enjoyed the performance and, and I would even love to have an album of.

    The one downside I have is that unfortunately the sound gets very distorted in the loud passages.

  2. The Toulouse organ festival will be live streaming a concert for organ accordion. The performers are accordionist Lionel Suarze, and organist Thierry Escaich (who will be performing on the new transportable pipe organ called Orgue Gulliver).



  3. This organ has a general swell over the whole instrument, which I think is the reason why it looks like the great organ is enclosed. I'm kind of a bit confused by the pipes of the 32' Soubasse being under the floor as I thought the mentioned around 1:14 in the video that these pipes were placed above the organ.


    The specification of this organ is quite substantial, as the instrument contains over a hundred stops along with an acoustic 64' stop.



    GRAND ORGUE (Manual I)

    Montre 16’

    Bourdon 16’

    Montre 8’

    Flûte harmonique 8’

    Bourdon 8’

    Viole de gambe 8’

    Grosse Quinte 51/3’

    Prestant 4’

    Flûte 4’

    Grosse Tierce 31/5’

    Quinte 22/3’

    Doublette 2’

    Cornet (från c1) V

    Fourniture (2’) V

    Cymbale (1’) IV

    Bombarde 16’

    Trompette 8’

    Clairon 4’

    Saxophone (*) 8’



    Quintaton 16’

    Principal 8’

    Flûte 8’

    Cor de nuit 8’

    Salicional 8’

    Unda maris (from c0) 8’

    Prestant 4’

    Flûte douce 4’

    Nazard 22/3’

    Doublette 2’

    Tierce 13/5’

    Larigot 11/3’

    Septième 11/7’

    Piccolo 1’

    Neuvième 8/9’

    Onzième 8/11’

    Cornet (from f0) V

    Plein Jeu (11/3’) IV

    Basson 16’

    Trompette 8’

    Cromorne 8’



    Bourdon 16’

    Diapason 8’

    Flûte traversière 8’

    Bourdon 8’

    Viole de gambe 8’

    Voix céleste (from c0) 8’

    Octave 4’

    Flûte octaviante 4’

    Nazard harmonique 22/3’

    Octavin 2’

    Tierce harmonique 13/5’

    Fourniture (2’) IV

    Cymbale (1/2’) III

    Bombarde 16’

    Trompette harmonique 8’

    Basson & Hautbois 8’

    Voix humaine 8’

    Clairon harmonique 4’



    Violonbasse 16’

    Corno dolce 16’

    Violon 8’

    Flûte d’orchestre 8’

    Bourdon doux 8’

    Quintaton 8’

    Éolienne 8’

    Voix angélique (from c0) 8’

    Viole 4’

    Flûte d’echo 4’

    Piccolo 2’

    Harmonia aetheria (22/3’) III

    Clarinette (*) 8’

    Physharmonica (**) 16’

    Physharmonica (**) 8’


    SOLO EXPRESSIF (‘floating’)

    Cor d’harmonie 8’

    Violoncelle 8’

    Violoncelle céleste (from c0) 8’

    Cor anglais 8’

    Tuba magna 16’

    Tuba mirabilis 8’

    Tuba clairon 4’


    BOMBARDE (‘floating’)

    Cor d’harmonie (SOLO) 8’

    Tuba magna (SOLO) 16’

    Tuba mirabilis (SOLO) 8’

    Tuba clairon (SOLO) 4’

    Trompette Royale (***) 8’



    Basse acoustique (****) 32’

    Violonbasse (ORCH.) 16’

    Corno dolce (ORCH.) 16’

    Violoncelle 8 (SOLO) 8’

    Violon (ORCH.) 8’

    Corno dolce (****) 8’

    Physharmonica (ORCH.) 16’

    Tuba magna (SOLO) 16’

    Tuba mirabilis (SOLO) 8’

    Tuba clairon (SOLO) 4’



    Basse acoustique [211/3’] 64’

    Soubasse 32’

    Flûte 16’

    Montre (GRAND ORGUE) 16’

    Soubasse 16’

    Grosse Quinte 102/3’

    Flûte 8’

    Principal 8’

    Grande Tierce 62/5’

    Quinte 51/3’

    Grande Septième 44/7’

    Flûte 4’

    Bombarde 32’

    Bombarde 16’

    Basson 16’

    Trompette 8’

    Clairon 4’

    (*) free reed

    (**) free reed with separate swell device

    (***) on high pressure

    (****) from Corno dolce 16’ (ORCHESTRE)



    Manuals: C–c4

    Pedal: C g1


    Mechanical action console, built-in (movable in up- and downwards direction) Remote, mobile console (electric, proportional key and stop action)

    112 stops, incl. 15 transmissions


    Normal couplers, sub- and super-octave couplers; 12 free adjustable couplers


    Rieger’s combination system (4 adjustable crescendi; sostenuto; etc.) Additional Swell shutter system, movable panels in the back wall of the stage Rieger’s tuning system and replay system; MIDI

    WIND SUPPLY SYSTEM Various pressures for various windchests/groups of stops Flexible wind system for the Grand Orgue (c:a 20–150 mm)

  4. I just remember that a while ago I came across a channel dedicated to a unique continuo organ that I think is very effective as a solo instrument.

    The following description about this organ is taken from the channel.

    "This unique and very versatile organ was built in 2018 by Marc Nagels for Arno Kerkhof. It was designed as a seperate continuo organ with three stops and a connectable front case with nine stops. The seperate tower containing the lowest octave of the Principale can be connected to the continuo organ. The ensemble forms a full Italian organ in 18th c. Venetian style. The organ finds a place at any location, within any orchestra, choir or ensemble. It can be tuned in any desired temperament, pitched at 390, 415 or 440 hz."


  5. Although the subcontrabassoon is still not complete, Richard Bobo recently made a video of a bassoon sextet that I think gives use an idea of how the subcontrabassoon sounds as a musical instrument.

    I actually think the subcontrabassoon may have a future when it comes to being used as more serious instrument and not just as a novelty instrument. The reason why is because I think the subcontrabassoon is much more practical than most other subcontrabass instruments that I've seen.



  6. Yes, I don't think portable carillons are something a lot of people would be familiar with.

    I tried looking for the video Rowland Wateridge mentioned that was of “Wien bleibt Wien” arranged for carillon, organ, trumpet, and pan pipes, but I haven't had much luck. I did recently come across a video of a carillon being played in a band.

    0:00 Street spirit (Radiohead)

    4:16 Moon over Bourbon Street (Sting)

    8:15 Roads (Portishead)

    13:34 Life on Mars (David Bowie)

    17:12 That's not how dreams are made (Jasper Steverlinck)

    20:56 Summertime (George Gershwin)




  7. I just read an interesting article about a portable carillon that was built by students at the Iowa State University. This carillon as you can see has a bell tower facade, complete with a working clock. And apparently this carillon is even equipped with an electronic display that's similar to the Game guitar Hero, which was done by student who specialise in electronics and software engineering.



  8. It would be nice to hear some demonstrations of a 32' resultant reed, but there's no videos or recordings that demonstrate this particular type of resultant.

    I have come across some videos of organ that do contain these acoustic stops. One example is a video of the Orgue du Voyage built by Jean Baptiste Monnot. Towards the end of the video i can hear what sounds a little like a 32' reed.


  9. I recently checked out the subcontrabassoon project to see how it's going, and its progressed quite a bit. I suspect it's still got a long way to go before it's finished as it does still needs keys added to it, but it's reached the point where we can hear how it sounds.



  10. I was just thinking that it may be worth adding to the list, as I have come across several portable pipe organs that I think are worth including.

    I've also been wondering about what information I should be providing, as I included the name of the organist or organ builder along with the dates they were alive. But I'm starting think that the dates are not that important, as I included them because it's not often mentioned when these pipe organs were built, and at the time I felt that it would help narrow down the era the instruments are from.

  11. Here is the specification of Pierre-Maurice Branstein's organ built by Mutin-Cavaille-Coll. The stops for the manuals are listed with two pitches, as the manuals have a compass of 77 notes. I can't say for sure how accurate this specification is, as I find it hard to believe that most of the stops would each have an additional bass octave.  


    Compass: Manuals, CCC-e5

    Pedal, 32 notes CC-g1

    *Stops listed in R. Meyrick-Roberts, “The French Organ,” The Organ, no. 16 (1925): 209.


    1.     16 Quintaton

    2. 16-8 Diapason

    3. 16-8 Flute*

    4. 16-8 Bourdon

    5. 16-8 Flute d'orchestre

    6. 16-8 Violoncelle

    7. 8-4 Principal

    8. 8-4 Petite Flute*

    9. 16-8 Clarinette



    1. 16-8 Principal

    2. 16-8 Core de nuit

    3. 16-8 Dulciane

    4. 8-4 Salicet

    5. 8-4 Viole d'amour

    6. 5 1/3-2 2/3 Nasard

    7. 4-2 Doublette

    8. 3 1/5-1 3/5 Tierce

    9. 2 2/7-1 1/7 Septieme

    10. 16-8 Contre-basson

    11. 16-8 Musette*

    12. 16-8 Cor d'harmonie

    13. 16-8 Hautbois*

    14. 16-8 Voix humaine




    1. 16-8 Flute traversiere

    2. 16-8 Gambe

    3. 16-8 Viole

    4. 16-8 Eoline*

    5. 16-8 Eoline celeste

    6. 8-4 Flute octaviante

    7. 4-2 Fife

    8.          Plein jeu IV

    9.     16 Basson

    10. 16-8 Trompette harmonique

    11. 16-8 Cromorne

    12. 8-4 Clarion harmonique




    1. 16-8 Tuba

    2. 8-4 Trompette

    3.     4 Celesta (61 notes)


    PEDAL (16' Tirasses begin at C°)

    1. 32 Basse acoustique

    2. 16 Grosse flute

    3. 16 Contrebasse

    4. 16 Soubasse (G.-O.)

    5. 8 Flute (ext.)

    6. 4 Flute (ext.)

    7. 16 Tuba magna

    8. 16 Clarinette (G.-O.)



    1. Grand-Orgue [Unison off]

    2. Prolongement treble

    3. Positif au Grand-Orgue

    4. Recit au Grand-Orgue

    5. En Chamade au Grand-Orgue

    6. Positif 16, 4

    7. Prolongement bass

    8. Prolongement treble

    9. Recit 16, 4

    10. Prolongement bass

    11. Prolongement treble

    12. En Chamade au Recit 8

    13. En Chamade 16

    14. Tirasse Grand-Orgue 16, 8

    15. Tirasse Positif 16, 8

    16. Tirasse Recit 16, 8

    17. Tirasse En Chamade 16, 8







  12. 1 hour ago, OwenTurner said:

    Please carry on! 

    My view and opinion of this forum is that there is a high level of pedantry, blunt opinion and joking. However I also belIeve that contributors are well meaning and supportive and that that might not always come across. As for uninteresting posts, that really depends on what people find interesting, and I’m sure that opinions would be divided on how interesting most topics here are.

    I don't know what ells to say other than thankyou.

  13. 1 hour ago, Rowland Wateridge said:

    Sorry you may have been put off by others’ (over?)-reactions.  What you wrote made perfectly good sense, at least to me.  I would have been interested to hear more about this unusual organ, and in particular the relationship of the extended manual compass to the pedals.

    Fellow Mander-board members:  Niccolo Morandi may not read this.  He appears to have removed his name from all previous threads as well as this one.  In fact he may have left altogether as his profile is also deleted.  Maybe we should be a little more welcoming to someone writing from overseas, but showing interest in English organ matters as well as other topics.

    That's alright, things have just been a little difficult with what's been happening at the moment, and I also just didn't feel that what I posted was that interesting.

    I'm still happy to post additional information about Pierre-Maurice Branstein's Mutin-Cavaille-Coll organ, such as the specification.

  14. 2 hours ago, Andrew Butler said:

    I don't understand what this thread is about?


    It's hard to explain. I haven't been doing that well lately, and I also wasn't happy with what I had posted, so I deleted all the text because I can't delete the whole thread. It was just about a Mutin-Cavaillé-Coll organ, that had a compass of 77 notes on each manual.

  15. I was recently reading about a Mutin-Cavaillé-Coll residence organ that was built for the composer and organist Pierre-Maurice Branstein (1888-1914).

    The organ had a console of 4 manuals and pedal, and contained somewhere around 40 ranks of pipes, but what I find interesting about this organ was that all the manuals had a compass of 77 notes starting from CCC. Meaning that the 4' stops were technically 8' stops, while the 8' stops were technically 16' stops. And according to the specification only a small number of stops started from CC.

    Obviously a pipe organ with a compass stretching bellow CC is not unheard of, I just think it's a rather unique feature.

    Unfortunately I can't find any mention of this organ on the internet, and I've only leaned about it from reading “Pipe Organs of the Rich and Famous” by Rollin Smith. But I am happy to post the specification or any additional information.

  16. One thing I thing I'd also like to say is that I feel that not everyone understands why people like appreciate the pipe organ, as it's not just about the noises a pipe organ makes.

    I have a passion for steam, and not just steam locomotives but also steam power in other forms, such as in pumping stations, and ocean liners. So I took up an interest in the pipe organ because I felt that it was an ideal instrument to express my passion for steam.

    And to be honest, if my only interest in the organ was just about the pedals and the ability to create different sounds, I wouldn't be that concerned about playing an instrument that purely sounded like a pipe organ.

  17. I agree that constantly referring to digital organs as toasters is harsh (partly because I prefer to think of them as microwave ovens). I don't think this is anywhere as bad as what happened at the St. Peter's Basilica, however it does feel a little odd that the Liverpool Cathedral would need such an opulent digital organ.

  18. I recently came across an interesting interview with the organ builder Ron Sharp, who's best known for building the organ of the Sydney Opera House.

    To confess I did find the interview at the start a little jarring, as Ron Sharp is quite frail and their was also budgie or something that wouldn't stop making noises. But I did find some of his opinions during the second half quite interesting, as I think his attitudes on things like acoustic reverberation and the balance between bass and treble notes, are quite different to what most people think.


    Organs by Ron Sharp

    Sydney Opera House


    Knox Grammer School Chapel


    Perth Concert Hall


    St Mary's Catholic Cathedral

    Chancel Triforium



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