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peterdoughty

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  1. I did some googling and turned up this Facebook thread which contains a couple of potentially helpful photos... https://en-gb.facebook.com/groups/122306631156014/permalink/3086060881447226/ And also this: http://www.organstops.org/c/Cubus.html
  2. Here is our pedalling violinist with something faster this time...
  3. Perhaps a sign of the times... another item of sad news. https://laukhuff.de/?lang=en
  4. Utterly dreadful news. Their Facebook page has some reposted links from other pages and groups, including photos. From looking at them, it seems the entire building has indeed been destroyed, and if what the reporter in the above video says is correct, that would also include their archives.
  5. Carl Rutti's superb concerto for organ, strings and percussion was an exciting discovery for me on CD (Guild, GMCD7386). I hope to hear it in person some day. There's a fittingly enthusiastic audience review of it here: https://www.amazon.co.uk/review/RGT23JCVDY0XZ and Gramophone's Marc Rochester was clearly happy to herald its arrival. The first movement is here:
  6. I'm delighted to see the programme, and while I'm a bit puzzled at what appears to be the extremely short duration of some of the concerts, it can't be denied that, as Attenborough says on the promotional video for the season, a wonderful brightness will appear in our diaries! Very good news! I'll also be interested to see what becomes of the arena and gallery. There's talk of either shifting fewer than the usual number of prommers to the seated areas - or providing socially distanced fixed seats in the usual areas - at usual promming prices and on the day only...
  7. Well, this is sad news. Apparently they declared bankruptcy. 😔 https://www.lavenir.net/cnt/dmf20201124_01531643/faillite-pour-la-manufacture-d-orgues-thomas I have never heard any of their work in person, but the final CD in Bernard Foccroulle's Buxtehude set is played on one of their smaller instruments in Hoogstraten, Belgium. An utterly beautiful organ sound. https://www.orgues-thomas.com/orgues/neufs/HOOGSTRATEN-Sint-Katharinakerk
  8. Of course it is, Martin. My apologies to you, and all - too many tabs open in my browser and too many trains of thought at the one time. 😳 What a wonderful, poised performance he gave, mind you! Here in Belfast, my old organ teacher Garry Rodway also taught cello, and I believe he once flirted with the violin himself. He told me a story of an organist he knew, whose name I've wholly forgotten, who used to play something like this occasionally after services... what a great talent, whoever exhibits it!
  9. 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 ‘aliquot’ stops such as this. They were commonplace in new North European organs of that period by firms such as Schuke and Rieger We used it but rarely, though in one section of the Nunc Dimittis of Leighton’s ‘Second Service’ it came into its own for RH ‘bells’ and the published edition of the work (which was registered with NC organ in mind - bonkers!) actually calls for ‘Swell mutations - bell-like’ at that point. "A Septième rank is sometimes found on French organs and adds a little ‘pepper’ to combinations, so the ninth rank was stopped-off in the 1980s, as Edward recalls, leaving the seventh sounding. A Sesquialtera 12.17 on the Positiv was long desired, so sadly two ranks had to go - the None and the 1ft. They are now on the Swell, in place of the Teint, G&G having cleverly divided the Teint slider into two. They are renamed ‘Sifflet 1ft’ and ‘Neuvième 8/9th ft’. Ironic that the Septième rank has gone, as it is probably more useful than the Neuvième, though it’s remarkable how much the mutations from 22/3 upwards add to the Full Swell - which they need to as the reeds remain in their 1980s softened state, to my ear impoverishing the organ’s exciting tutti. "Blackwells have a stock of my book (Positif Press). It’s the result of many years of occasional research in the college archives and has some fascinating historical material and illustrations, as well as a detailed description of the GDB and what has happened to it since 1969." Needless to say, I've bought a copy!
  10. 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 the stop had a sound like tinkling glass! It was intended for music by avant-garde composers like Hugo Distler, though I doubt it was ever much used.....for the last forty years or so one of the ranks was sellotaped silent. I know of no other examples of the Teint in the UK, but builders such as Rieger in Austria probably were the originators." They also advised me to approach Paul Hale as he was organ scholar there and has written a book about it, and I've just done so. Apparently he regretted the stop's demise!
  11. 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? The meaning of the French word would roughly approximate 'tint' or 'colour'. I've googled to try to find out more about it but there seems to be no mention anywhere... intriguing!
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