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Mander Organs

SomeChap

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  1. Thanks for the correction! I'll go back and correct my post. I had all of that straight in my head at one point; clearly it all fell out again! There's a BBC Dan Cruikshank documentary on YouTube about the dynasty which I must get around to watching, maybe that will help.
  2. One that got away two years ago (I think!) was Moccas in Herefordshire (Walker 1877), recently given a full historic restoration by Nicholsons. The case is by Giles Gilbet Scott Junior [correction: George Gilbert Scott Junior, oops!]: The church is a lovely tower-less three-chamber Norman building retaining many Norman features including its apse, set in lovely countryside. A gem. ETA: NPOR has perhaps an even more atmospheric photo:
  3. Haven't had chance to watch this yet but I'm generally a fan of Jonathan Scott so must get around to it!!!
  4. Leo van Doeselaar is titular organist at the Martinikerk in Groningen, organist at the Amsterdam Concertgebouw (did I spell that right?), and I think he is (was?) also organist at the Pieterskerk in Leiden, with its awesome 17th-Century van Hagerbeer organ, still with Blokwerk on the Hoofdmanuaal. He has quite a CV, to put it mildly! AllofBach is surely one of the best things to happen in my lifetime. (It's even a bit too good to be true, all being available freely to everyone.... I can't help wondering if there's someone a bit shady paying for it all, but that could just be me being paranoid!) They are using a nice selection of Dutch organists for the project, Doeselaar is perhaps their primus inter pares but there are others as well. I really enjoyed some I didn't know previously - for example Reitze Smits playing BWV662 on an organ not familiar to me or Bart Jacobs playing BWV545 at Haarlem or Dorien Schouten playing BWV578 on the Koororgel at Kampen. I also enjoy the interviews with the players about each piece. The concerted works are phenomenally good as well - we watched their Matthew Passion on Good Friday and it was sublime. ETA: Doeselaar does a lot of their continuo organ playing, often on 'real' organs rather than box organs - eg the short but spectacular motet Nun Ist Das Heil BWV50 at the Maartinikerk Groningen.
  5. LOVE the Chorzempa recording and totally agree about the slightly slower tempo - it's got a real self-confidence about it. It reminds me of the time my wife and I popped in to Notre Dame de Paris in about 2004 on holiday; we were lucky to catch M Latry* playing this at the end of mass and it was utterly stunning and exhilarating - I wanted to shout 'Bravo' at the top of my voice by the end (managed not to, thank goodness!). It wasn't slow though! I noticed Latry often talks about the relationship between the organ and the cathedral itself - how the organ is the voice of the building - and it really was as if the whole cathedral was singing. Sorry, slightly off-topic. Again. * it could only have been him!!
  6. Just wanted to say I really loved the Jonathan Scott recital, and I would have missed it but for this thread, so many thanks to P DeVile, and 'Bravo' to Mr Scott (on the off-chance he's reading this forum)! The playing is brilliant, the repertoire is brilliant, the video editing is brilliant, the organ sounds epic, and the verbal introductions to the pieces are perfectly pitched. Great stuff: looking forward to the next one!
  7. FYI before and after pictures are on Facebook.
  8. In 1975, John Scott was the only organ scholar at St John's Cambridge when he had to conduct BBC Choral Evensong because George Guest was ill. He was 19. It wouldn't happen nowadays! (They brought Jonathan Rennert back from post-grad 'retirement' to play the organ.)
  9. I dodn't know Corvedale, I guess it's not in the NEH? Sounds alright on a first hearing but not inclined to lynch just yet! A Lenten evensong, unaccompanied (links are to youtube) ------------ Introit: Tomkins, Almighty God, the fountain of all wisdom (this recording is good but a bit slow!) Responses: plainsong, of course (can't seem to find a link, sorry, everyone know the plainsong responses, right) Psalms: 15th evening (sorry not very original) Canticles: Whitlock, Fauxburdens Anthem: Monteverdi, Adoramus te Christe --------------- No hymns (thank goodness), no voluntaries, no faffing about, just Evensong - the best thing about Lent.
  10. Just stumbled across this pic - it's the only one I've so far seen of the grand organ of Chartres since the paint-job, hope it's of interest:
  11. Thank you for your detailed reply; do let us know if you learn anything!
  12. Has the new paint-job changed the acoustics do you think? What do the locals think of it (it's highly controversial if anyone doesn't know)?
  13. Exciting! Thanks for the update.
  14. Yes surely, though Bach must have been in a vindictive mood when he wrote the F major prelude! I have a vague memory of Nigel Allcoat saying that none of the classic registrations at St-Antoine l'Abbaye needed more than about six stops simultaneously for this reason.
  15. PPPS The catholic version of verse 2 doesn't scan very well as given here. Two lines are too long for the tune, not least on the word "Röselein" itself. If it were going to use apostrophes, that's where we would have seen them. This version abbreviates 'und' at the beginning of line 5 for space-on-the-page purposes, and uses a visual symbol to do so. The protestant version misses out the 'i' in the middle of 'ewigem' without an apostrophe. I'm not sure whether that's a matter of abbreviation or spelling variation. If its the former then the protestant version is using abbreviation without apostrophes for scansion purposes, and therefore it would be possible that an 'e' on the end of 'Roeß' and in the middle of 'Roeßlein' could have been dropped without leaving any trace, making those words closer to 'Rose'.
  16. PPS Latin 'Ros' is dew. German 'Roß' is knight / cavalier / horse. Swedish 'Ros' is rose. French 'Ros' is comb! Danish 'Ros' is praise I think I'll stop there!
  17. PS I should add that German is only my 3rd language, so corrections are very much welcome from a native speaker such as tiratutti!
  18. Fascinating. 'Spross' is cognate with 'sprout' in English, and its primary meaning is now 'scion' according to linguee. I wonder if Rowland knows anything about what happened to the 'Sp' on the beginning of the word? The Luther Bible (I can only find the 1912 version online) give Isaiah 11:1 as "Und es wird eine Rute aufgehen von dem Stamm Isais und eine Zweig aus seiner Wurzel Frucht bringen". 'Rute' is rod or tail and 'Zweig' is branch (presumably cognate with 'twig' in English). The Vulgate (with which Luther would presumably have been familiar) has "Et egredietur virga de radice Jesse, et flos de radice ejus ascendet". 'virga' is a twig or rod and 'flos' is a flower. There are two early versions of the second verse of the carol, a Catholic one and a Protestant one. The Catholic one is the earliest, from 1599 is in the Speyerer Gesangbuch as mentioned by Rowland), which can be inspected here on wikipedia - I've deliberately preserved the original spelling and capitalisation below. There is no punctuation other than a slash between each line and a full stop at the end of each verse; no apostophes are used: Es ist ein Ros entsprungen auß einer wurzel zart Als uns die alten sungen auß Jesse kam die art und hat ein blümlein bracht mitten in kaltem winter wol zu der halben nacht Das Röselein das ich meine Darvon Isaias sagt Ist Maria die reine Die uns das blümlein hat bracht Auß Gottes ewigem raht hat sie ein Kindlein gboren Und blieben ein reine Magd. Speyer is in the south west of modern Germany, I think it would have been in an out-growth of Bavaria politically at the end of the 16th century but correct me if that's wrong. It's not far from Strasbourg so I would expect these spellings to reflect Alsatian usage to some extent. The spelling is not very consistent here but it's tempting to attach significance to the 'e' in the middle of 'Röselein' in verse two. That does suggest the intended meaning was a little rose, at least in the Speyer printer's mind, and the Catholic text here makes it very clear that the Röselein is Mary. This fits in with the late mediaeval tradition of Mary being a rose on the tree of Jesse, but I don't know how widespread that tradition was in 16th century 'Germany'; certainly Mary was associated with roses more widely though (eg. distributing garlands of roses in Albrecht Durer the younger's Rosenkranzfest of 1506). Of course roses don't flower in the winter so you don't see them associated with Christmas imagery much. Christ is unambiguously referred to as a little flower ("blümlein"). Praetorius's 1609 part-books can be inspected on IMSLP - again no apostrophies or punctuation other than slashes between lines and a full stop at the end of the verse: Es ist ein Roeß entsprungen aus einer Wurzel zart als uns die alten sungen aus Jesse kam die art und hat ein blümlein bracht mitten im kalteb Winter wol zu der halben Nacht. Das Roeßlein das ich meine darvon Esaias sagt hat uns gebracht alleine Marii die reine Magd aus Gottes ewgen raht hat sie ein Kind geboren wol zu der halben Nacht. These were printed in Wolfenbüttel in north-east Germany, politically in protestant Brunswick for whose ducal chapel Praetorius was Kapellmeister. I don't quite know what to make of the spelling of 'Roeß' here (linguee hasn't even heard of it), but it's certainly further away from modern German "Rose" and the 'e' is missing from after the ß in Roeßlein so there isn't the same hint of roses to my mind. Here, the Roeßlein isn't Mary, it just brings us Mary. It seems to me that the tradition of seeing Mary as a rose is a more characteristically catholic one and I wouldn't be surprised that it was being de-emphasised here. A lot hinges on those spellings though! I checked them all on linguee.com and none of them is in any common use in modern german except as surnames and acronyms!
  19. Agreed, it might need miking up to fill the Nave but in that acoustic I'm sure it sounds wonderful. I was surprised to learn the Grand Orgue isn't a Cavaille-Coll; maybe that's held back the restoration project?
  20. More about the orgue de choeur in case it's of any interest - it was a gift from the Dupres after WW2
  21. (Just in case of confusion, there's no mention of a digital organ in the article about Rouen; the orgue de choeur will be used for services while the grande orgue de tribune is out of action.)
  22. I have long coveted Paul Isom's organ in Mersault! Paul, your lovely Gite in Mersault came up in a tripadvisor search when we were shopping for a holiday a few years ago; I did try to persuade my wife that we should stay there but we ended up in Normandie. Another time... For those who don't know this little organ, you must listen to the audio tracks at Paul's web-site; it sounds extraordinary! I would never ever have guessed it was a 1-manual, 9-stop organ. Is there progress on restoring it? See http://www.meursaultorgue.com/audio.html (@Paul again - the final track [IV Final - Toccata] doesn't seem to be 'clickable' in google chrome?) Combining this remarkable achievement with the Bigelow either-or idea linked above seems likely to be productive. I have 'normalised' Mutin's somewhat idiosyncratic stop nomenclature. I'm not sure the three-way borrowing for the pedal would be possible with mechanical action though. I've leaked up to 13 stops in order to include a 4' flute - basically I've added a Cor de Nuit 8, a Voix Celeste 8, a 4' Flute and an Hautboy to the original 9 stops. All enclosed as at Mersault. I am assuming a church acoustic rather than a house. Available on Man I: 16 Bourdon 8 Montre 8 Flute Harmonique 8 Salicional 4 Prestant 4 Flute Octaviante III Plein Jeu 16 Bombarde 8 Trompette 4 Clairon Available on Man II: 8 Montre 8 Flute Harmonique 8 Cor de Nuit 8 Salicional 8 Voix Celeste 4 Prestant 4 Flute Octaviante 8 Trompette 8 Basson-Hautbois Available on Pedal: 16 Bourdon 8 Montre 8 Flute Harmonique 4 Prestant 16 Bombarde 8 Trompette I don't think it would sound very different from the Mersault organ. but it would be greatly more versatile. Baroque music? Not today!
  23. Agreed, these are minor, reversible changes. No cultural heritage is being irrevocably destroyed, no money is being irresponsibly wasted, no employment law s being breached, no-one's health and safety is being endangered, asset values are not being diminished, you are not compromising the building's accessibility. I don't see the harm in this instance.
  24. Pleasing to hear that our armchair musings might be of some practical help! I don't know for sure of course, but I have a hunch that claribel might be too loud at 4ft? Suck it and see, I suppose. Good luck!
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