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Mander Organs

peterdoughty

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  1. I've had a most kind and interesting reply from Paul Hale, as follows: "The Teint was a gift by Maurice Forsyth-Grant, as was the None (Positiv, now on the Swell) and the 16ft Messing [brass] Regal on the Great (now replaced by G&G with an 8ft Vox Humana). The pitches are the seventh and ninth harmonics (a flat Bb and a near-D) which can be heard in the harmonic series of a bright reed pipe (particularly the 7th, the ‘Bb’). However, Maurice didn’t really intend it to be used liked that, but in some North European organ music of the 1950s and 1960s which occasionally calls for ‘aliqu
  2. Thanks everyone for the interesting replies! I've been in touch with Goetze and Gwynn who restored the instrument, and have had a reply from one of the staff as follows: "Yes, I remember the Teint. It was on the Swell, but because it was never used, the 1ft on the Positiv was transferred to the Teint's position, and a much needed Sesquialtera II (copied from the GDB at York University) was introduced to the Positiv. "The Teint was a high-pitched Aliquot mixture... I don't remember what the pitches 1.1/7 and 16/19 denoted, but they were high up in the harmonic series, and though soft
  3. I never managed to get into New College Chapel during my visits to Oxford around 20 years ago, so my only experience of hearing its organ has been through Peter Hurford's Bach set. Registrations aren't given, so I'm entirely unable to tell whether or not he uses a stop whose name and composition I've never seen before or since encountering the specification. It has vanished from the current stop list, but you can see it listed as number 47 here. Teint II - 1 1/7, 16/19 What on earth was it there to do?! How loud or soft would it have been? Does anyone here remember hearing it at all
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