John Robinson

No, sandwiches surely.

The Corona Division, presumably.

Very pleased to read such positive comments about: Dulcianas and Hohl Flutes !

Thanks, Jonathan. Balanciers do seem a very simple concept compared to floating levers, and appear to be quite effective from what you say. Thanks for the picture. The leather(?) looks a bit like Cambozola cheese! Yum, yum!

How useful are balanciers? Presumably they reduce the weight of touch, but do they compromise repetition speed, or anything else for that matter?

I hesitate to contribute here as I have no practical experience in the matter, but if a colleague were to support the pipe by the body whilst it is being cone tuned would this not avoid any damage to the mouth or foot?

Yes, I have a copy of that CD (I think). I'm really not sure why they did that (the microphone placement), although they do explain it in the text. The Tuba Mirabilis sounds quite emasculated!

Red stiletto?

There's this, of course: http://www.oddmusic.com/gallery/om06300.html Relatively easy (and refreshing!) to make, I should think. The sound, whilst not perfectly regulated, is quite nice I think.

Yes, the 'rollschweller' can be used both ways. The ones I have seen appear to crescendo when turned towards the player, and diminuendo when turned away from the player.

I have just renewed online and managed to achieve this eventually, although I made one or two mistakes. I think that having a 'shopping cart' threw me a bit. I used to take 'The Organ' as well but, when they ignored my e-mails regarding renewal I didn't bother to pursue the matter.

I understand that, at the top end where flues are often used, there may be two or three flue pipes for each note. I should be interested to know whether these are tuned in unison or, perhaps, in thirds in order to sound more 'reedy'.

A very good point. I have just removed my date of birth for the same reason. In any case, despite being a member of this board for four years no-one has ever sent me a birthday present! Incidentally, is it just my Windows Vista or is this site veeerrryyy slooowww tonight?

I think most people would agree that the Bavokerk instrument is housed in an exceptional case (and sounds good). I also like the main case at Passau Cathedral which, I believe, is contemporary with the Haarlem instrument (though the contents are not as historic). It was enhanced, very artistically I think, round about 1980 with the addition of a Hauptwerk case which looks as if it is part of the original design. Although the proportions are somewhat different, the decorations and the case as a whole are, in my opinion, on a par with Haarlem.

An excellent post. A friend asked me, recently, why I like the organ so much above any other instrument. My reply: 'Variety'.

Yes, I do have it and, yes, there are many similarities. It would be nice to think that these tubas do originate from the Hill rebuild - and, of course, you may well be correct in that they were re-used - but if that were the case I am surprised that the authorities at York do not claim their historical provenance. On the other hand, I'm sure I read somewhere that these were the second and third tubas ever to have been made after the first at Birmingham TH, which would suggest much earlier than 1903. I would really like to get to the bottom of this. I have wondered about other stops at York possibly being older than the documents state. For example, the booklet you refer to states that there are three stops (Open Wood 32' and 16' extension, and Open Diapason 32') from the Elliot and Hill 1829 build, yet elsewhere (can't remember where offhand) I have read that there are five or six such stops.

According to the documents, the enclosed tubas at York were by Walker in 1903 and, if so, I doubt they were retained for historical reasons. I suspect their value, in being enclosed, is more to do with flexibility. This got me thinking, though. If your sources say they are Hill, I wonder whether old pipes were used/adapted by Walker in 1903.

There are, of course, the 16' and 8' enclosed tubas (on 15" pressure, I think) at York Minster. They are demonstrated (briefly) on the new Priory DVD discussed on another thread on this site, and don't seem to suffer unduly from their enclosure!

Thanks Richard. A very enlightening view, showing the reflectors and other interesting detail. I hadn't realised that the screen pedal also had reflectors. An electrically driven set of bells I can live with, although the sleeve notes definitely said 'electronic'! Sorry to trouble you with more questions, but is that a couple of the new Bombarde pipes I can see peeping over the curtain in front of the Solo? In that case, is it mitred rather than en chamade? Finally, what is the longer box with white 'dots' in front of the Cimbelstern?

Good heavens. If I were ever in that position the first thing I would do is have a look, only to put my mind at rest that my fly wasn't open! Incidentally, in the programme notes it mentions that the new Cymbelstern (featured in the Mushel) is electronic! Does that mean that York Minster is now a hybrid instrument?! Should anyone be interested, the programme comprises: 1. Toccata in B flat minor - Vierne 2. Adagio - Albinoni/Giazotto 3. Medio Registro Alto, Premier Tono - Peraza 4. Scherzo in E - Gigout 5. Toccata in B minor - Gigout 6. Variations on a Theme by Paganini for Pedals - Thalben-Ball 7. Prelude on York Tune - Wood 8. Fantasia in F minor KV608 - Mozart 9. Imperial March - Elgar 10. Fiat Lux - Dubois 11. Rosace - Mulet 12. Fugue sur le Carillon des Heures - Durufle 13. Toccata - Mushel 14. Improvisation sur Haec Dies - Cochereau

Ah, here it is! I've had the chance this evening to watch parts of it, and I think it is well worth buying. The playing was admirable and Richard McVeigh's page-turning excellent! Now can we have the one from King's, please. (This guy's never satisfied!)

Where's mine?! My wife sent off for it weeks ago (for my birthday in August!). Do tell us what's on it.

Thank you! At least I know my memory is still working (for the time being).

And what about 'Cornopean'. I have always believed the emphasis should be on the 'e'. However, I am sure I once heard Francis Jackson pronounce it with the emphasis on the second 'o', and I would be the last to contradict him. Is my memory at fault or have I been mispronouncing all these years?

You haven't lived!