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John Robinson

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Posts posted by John Robinson

  1. The recording engineers hung the microphones from the central tower, therefore getting a rather unbalanced sound of the organ. Buy the new DVD that JSW recently did as the organ sounds fantastic on it.

     

    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!

  2. Hmmm. I have just ceased to subscribe (by not renewing).

     

    The final straw being the lack of ability on their part to take a subscription renewal via online bank transfer. (I suspect it is a misunderstanding about what is involved on their part - but, to my mind, if they want to do business in the present day, then they should be prepared to take subscriptions in ways which match the current conditions.) I no longer use cheques, and told them so.

     

    However, the content has seemed very variable in quality for some time, I think, and I find I can do without it - and, though I recognise that funding has to some extent to come from advertisements, there is a limit to the quantity of such which I wish to turn the page on just to try to find something worth reading. (Doesn't only apply to OR!) In fact, thinking about this, I would rather read something devoid of advertisments, in the form, say, of a pdf, rather than have a physical object delivered by the postman.

     

    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.

  3. A friend who is not an organist recently viewed this site and pointed out to me that, for reasons of personal security, it is inadvisable to have ones name and date of birth on the same web page so I have now delated the latter.

     

    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?

  4. If I could only take one PICTURE with me it would have to be of St Bavo's in Haarlem, and I think that I would choose the same instrument for my discs. In spite of what Marcussen did it's a beautiful instrument and there are many excellent recordings of a wide variety of organ music.

     

    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.

  5. What I hope is becoming evident - well to me it is, and reinforces my simple thoughts on the matter of this thread - is that we are hearing and discussing greatly individual instruments. Each has its own personality and possesses an organ DNA that is the builder: scaling, voicing and thus a tonal conception that he thinks fit to suit the acoustic and position in the room. To a degree of course the musical usage and influences that emenate from others are intertwined with all those things. But I am always mindful of the fact that in past times builders and players had few opportunities to travel so very much and when they did they only had their own memories and 'sound banks' upon which to draw when returning home. Granted, some builders moved into different territories and took with them the fashions of those places and brought them to the ears and sight of the musicians in their adopted land. It is all an exciting prospect but one that must certainly have caused some ruffled feathers. It was most interesting to hear builders, players and consultants talking about the new French organ in England and I imagined the same kinds of conversations through the centuries when a new style suddenly came on the scene and which didn't quite conform to the norm to which everyone had become accustomed.

    This to me is why the organ world is so colourful and utterly diverse - more so now because of travel. I heard two fine Parisian organists give a lunchtime concert in London this week on a totally different instrument to any they had played before and the train took 2 hours 15 mins from one station and culture to another. Then Home for Dinner after Lunch in the mediaeval Middle Temple Hall. And then thanks were transmitted from one country to another via a network in another continent and bounced off a space satellite. And then I can hear the sounds that are being displayed here and read other threads from totally dedicated people who support their way of organ sound, usage and building as if flying the flag as like a dedicated football team supporter. Bach would be dumbfounded - but hugely entertained?

    Organs to me are like tastes. All countries have their special favourite foods, architecture, drinks, language and landscape. Travellers often prefer one place to another. Organists will always prefer one sound and builder to another and this glorious Board allows us to swap and enjoy each other's joys, disappointments, wrinkles, anecdotes, scholarship and humour. Am I being maudlin? No. I am just happy that The Cause flourishes and that we are free to be able to enjoy the riches that thankfully have been left to us when strong vibrant personalities laid the foundations all over the Western world some centuries ago. Thaks to those who funded such faith. Patronage is the one huge disappointment to me because its lack in our present age does not allow the freedom that an artist desires and craves I think. Have our circumstances changed radically from those colourful and indigenous instruments of the Baroque?

    Best wishes,

    Nigel

     

    An excellent post.

     

    A friend asked me, recently, why I like the organ so much above any other instrument.

     

    My reply: 'Variety'.

  6. I've got the 1997 booklet about the Minster organ, possible you have too; Solo Tubas 8&16 appear on the 1859 Hill spec, the 1903 Walker spec also indicates these stops but the booklet doesn't credit them as being Hill. However if you compare the 2 specs there are considerable similarities - for example the 4 Great reeds, but again, not much material is credited as being Hill.

    I would guess that much more of the pipework in the Walker organ was from the Hill instrument, albeit revoiced.

     

    As to historical reasons, well, organists (and I suppose builders) are always very reluctant to get rid of good stops when it comes to a rebuild. ;)

     

    DT

     

    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.

  7. On some instruments, York and St. George's Hall Liverpool spring to mind, there are historical reasons for the enclosed Tubas. At both venues these enclosed ranks were old - at York they were Hill stops and at St. George's the original Father Willis, the Mirabilis stops on both instruments (very much louder) were added in th 1930s.

    At Lincoln, Salisbury and St. Paul's Father Willis put in modest Tubas at 8&4, the 8 can be used with the choir, together both will top full organ nicely without blotting everything else out.

     

    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.

  8. Are there examples of enclosed tubas? In general, they are unenclosed, aren't they?

    Opinions about it?

     

    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!

  9. 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?

  10. How much of me can you see?? I haven't seen this yet...! As for the Regent recording, I actually play a few notes in the Dupre, I wonder if you can tell which ones. I also haven't heard this recording yet, but its a good programme of some unknown stuff, and the Cochereau Symphonie which John transcribed is definatlely worth hearing.

     

    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

  11. I was very pleased to see, awaiting me on my doorstep, a packet from Priory Records -- the new (long awaited) DVD from York Minster. I've had a brief look at it and without doubt there'll be long hours of viewing pleasure. Priory are spoiling us! :)

     

    Where's mine?!

     

    My wife sent off for it weeks ago (for my birthday in August!).

     

    Do tell us what's on it.

  12. 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?

  13. I believe in terms of numbers of stops and pipes Passau the largest. It is usually counted as a single organ, but in reality it is several instruments, all controlled from one console. I think there are a few German organs that are like this. I may be getting confused with somewhere else, but I think Mainz Cathedral has a two-manual console, a couple of three-manual consoles and a six-manual one to control the lot. Definitely has a six-decker, anyway - there are pics on the net. But the number of manuals is not really a very reliable indicator of size. I've seen one or two four-deckers that were actually smaller than some three-deckers.

     

    I quite agree.

     

    I question the necessity of having so many manuals (how many hands do most organists have anyway?), despite the number of divisions the organ may have. With the advantages of modern electric action, including transfers, general combinations, etc., I cannot see why even the largest instruments cannot be controlled from a four manual console, each manual accounting for two or more divisions, if necessary.

     

    Moreover, unless the organist has the arms of an orang utan, how can he/she possibly play the 6th (or even 5th) manual comfortably?

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