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Johannes Riponensis

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  1. The piano version was published in 1944 by W Paxton & Co, who also published the organ version. It works well enough, but you need a) big hands, b) to share the 'tenor' melody between both thumbs and c) extensive use of the sustaining pedal!
  2. I have a copy of GTB's piano reduction of this famous piece (which, incidentally, is much harder to play than the organ original!). It is marked Larghetto (crochet = 72). To my ears, the organ version also makes sense at the same basic speed, albeit with slight easing at the ends of phrases etc. This still retains the requisite note of sentimentality without becoming the dirge so often heard these days. The composer's own recording from St Mark's, Audley Street in 1948 (available on YouTube) begins at about 69 and increases to about 88 at the climax. This, together with the omission o
  3. In the good old days they used to raise the orchestral canopy for organ recitals and to good effect, especially for those listening in the arena. The, one day, during the lifting, a light fitting (or part of one) fell on the percussion section of the orchestra below. Fortunately, the stage was empty. As a result he canopy has not been moved since, but it does mean some of the sound goes over the top of it. The best place to listen these days is from the balcony or even the gallery, in direct line of fire from the heavy reeds!
  4. Ripon - see the Cathedral Newsletter of 26 July in which the Dean writes: At the end of the academic year we announced the departure of our Director of Music, Andrew Bryden, to pursue new opportunities. Andrew joined the cathedral in 1998 as Assistant Director of Music and was promoted to Director of Music in 2003. I’d like to thank Andrew very much for his service to the cathedral over the past 22 years and we wish him well as he looks to the future. Canon Michael has been collecting cards and letters of thanks from people to pass on to Andrew – please be in touch with Canon Michael
  5. Thank you - the trick is to do it without seeing (hearing) the join! Actually, I reckon this one thumbed down note is more awkward than a whole line of them.
  6. Could some more accomplished player than I please explain how to play the last 4-5 bars on the Folk Tune, in particular the tenor F sharp on the Great whilst playing the remaining chords on the Swell? I believe Whitlock had double-jointed thumbs, which may have helped.
  7. Thank you so much. Expressionen, I believe, are more common in Germany, as an alternative to tuning slides. As for Bourdonpunkt, I think I understand what this means. The voicer tries to find the optimum position of a) the tuning spring on the reed itself and b) the length of the resonator, so the two are in sympathy (Übereinstimmung). It explains why when voicing large reed pipes it helps to have two people - one to tap the tuning spring at the bottom, the other to adjust the tuning slot at the top, thereby achieving the desired optimum setting.. Now to put that into
  8. I visited in 2004 when only two of the instruments had been restored. The YouTube clip of Handel Fireworks is amazing. However, the players cheated a little in using CCTV. If you look closely at the building you'll see that there are little circular 'pulpits' at the junction of the nave and transepts where the conductor(s) would have stood. Apart from the 6 organs there are 20-odd galleries at the east end for singers and instrumentalists. Even the access stairs are all constructed in fabulous white marble. Breathtaking opulence is the only way to describe the building.
  9. Could some kind bi-lingual organ builder advise on the English equivalent of a) Expressionen with reference to flue pipes and b) Bourdonpunkt with reference to the voicing of reed pipes? Many thanks!
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