John Robinson

http://www.pupp.cz/en/section/32-wedding-arrangement.html "Festive Hall Neo-baroque ball room, with organ - this is the perfect setting for grand wedding (up to 500 persons)"

I believe the builder (Klais) chose to sit right underneath it at the opening recital, presumably to assure everyone it was safe! It hasn't fallen down yet, anyway.

"Freie Kombinationen" used to be quite a common system in Germany during the first half of the 20th Century. An example by Steinmeyer - 1932 Munich, St Lukas: Edit: I thought I'd mention that, although this type of system has pretty much been taken over by computerised setter systems one advantage occurs to me, that it is possible to see which stops are affected by each of the Freie Kombinationen (in a similar way to looking at which stops have been drawn), whereas a setter system is effectively 'blind'. On the other hand, with FK, you have only three or four combinations whereas with setter systems there is an almost unlimited number, presumably depending on the memory available.

Has a list of possible future venues been put together yet?

You mean the smell and taste of iodine? An 'acquired taste' as they say! Nevertheless, Laphroaig is one of my favourites.

Fascinating. That would appear to combine two of my most ardent interests, although I prefer single malts. When is it coming to South Manchester?

The Germans take their organs more seriously than we do, unfortunately. I've mentioned this before: Cologne Cathedral = 3000, possibly 4000 (including people sitting on camp chairs in the aisles) for a Messiaen(!) recital; British organ recitals might be lucky to attract 100.

In a much more general sense I believe that, although there have been enormous technical improvements in sound recording and mixing over the years, the professionalism of some of the technicians has deteriorated. I have lost count of the number of comments I have read about recent television programmes being spoilt by 'background' music becoming, in effect, distinctly 'foreground' music, sometimes to the extent that the dialogue cannot be heard properly. I think that some people are becoming too clever for their own good.

And then Epiphany, then Lent and Easter. I expect we'll have to wait for Trinity for a mass of posts!

Yes, thanks for the re-assurances.

There have been no new posts for nearly a week now, unless there's something wrong with my computer (which wouldn't surprise me). Has something untoward happened? I'm becoming worried!

Yes, I've watched that video before and, yes, they do shut them up, don't they? And then they applaud! In answer to your question, I have read that they are on either 40" (1000mm actually) or 28" WG. Who knows which? Incidentally, I have been informed that one of the two is like a 'dark' Willis and the other like a 'bright' Skinner. I have been unsuccessful, though, in determining which one is which! I don't suppose anyone knows?

More than likely, I should think, as Richard Lea is (or was?) the organist at Paddy's Wigwam.

Yes, that would work perfectly... except for services in the chancel! Certainly, a large organ in the nave and a small one (perhaps something like the pre-1830 organ which, incidentally, had a much more elegant case) on the screen for chancel services.

I agree with what you are saying, Colin, except for one small point: I was under the impression that the pressure of the enclosed tubas was actually reduced to 15". As you know, there were a number of 'experiments' with the York Minster organ in an attempt to 'get it right' both in the chancel and in the nave. I wonder whether restoring the H&H Great flues to a higher wind pressure might help with volume in the nave, whilst the rest of the flue work (remaining as it is) could do service for the chancel. As I understand it, the 16' Great diapason pipes, or at least the bass ones, form the 'thick wall of basses' on the west side of the case. I wonder whether the situation could be improved by removing these and restoring to speech the display pipes (or some of them) in the west facade. I believe that the only real solution to providing a good sound to both east and west (without compromise) would be to introduce a new Nave Organ which, I believe, has been proposed before. Money is the problem, I'm sure. Anyway, I'm pleased to hear that steps are being taken to improve matters acoustically. Just for the record, I thought that the Tuba Mirabilis on the well-known 1960s recording by Francis Jackson was just right. Yes, it tends to shout down the rest of the organ (at least on this recording) but not to an extent that it can't be heard. Perhaps if the H&H flues were increased in power as you suggest, the balance might be better without the need to reduce (what I consider to be) the wonderful sound of the Tuba Mirabilis.

He does right. I think everyone would agree that he has done more than enough to further the world of organ music - both performance and composition.

I have a copy of this DVD. Whilst being in NTSC format (but region code 2,3,4,5), it plays perfectly on my Panasonic BD/DVD player, so if you can get hold of a copy it may be worthwhile enquiring whether your player can handle NTSC. NVC Arts. Reference: 50-51865-5132-2-3 Hope this helps.

I wasn't aware of this as we don't hear much of him (understandably) these days. I don't suppose he frequents these pages but, nevertheless, I wish him a belated happy birthday and hope he achieves his century and receives his telegram from The Queen (hope she's still around by then too!).

This, of course, was made by Harrisons.

Wouldn't it be nice if the organ had such a following here?

Hopefully not bricked up! Or perhaps it is something along the lines of the central European 'nachtigall'!

As this thread has now been resurrected after a period of almost ten years (!), it occurs to me that there must be several possibilities for swell box control when both hands and both feet are occupied. Whilst 'buttock control' sounds intriguing, at the risk of possible derision I have another suggestion that crossed my mind years ago. On the grounds that most organists are not required to sing whilst playing, a plastic pipe (thoroughly disinfected, of course) could be provided which the organist could place in his/her mouth and control the opening/closing of the box by blowing or sucking. I'm being perfectly serious, I assure you, and the technology is certainly available to sense air pressure or vacuum. On a more flippant note, I have been racking my brain thinking about which other parts of the human anatomy might be available. Best not to go there.

I'm a bloody fool!

Looking at NPOR, they list it as having four manuals: http://www.npor.org.uk/NPORView.html?RI=N02796 although it had five manual divisions. I assume that the Solo and Echo were both on the fourth manual. Having said that, here's a photo showing 5 manuals: http://www.npor.org.uk/cgi-bin/XMLFunctions.cgi?Fn=GetPicture&Rec_index=N02796&Number=1 so perhaps the listing is wrong! In any event, it now only has three of course.

I can't imagine why anyone would want so many manuals. I'm sure four would be perfectly adequate; possibly five at a stretch (if you'll pardon the pun!). After all, how many hands do organists have?