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Mander Organs

Classic car man

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  1. I have hardly missed a recital here for the last 30 years and every one has had a very respectable number in the audience, although in this Great Space where the capacity of each area is so huge, even respectable numbers can look thin! The Well, as the Nave is known, is an important part of the building. It is used as a stand-alone space for concerts, services and exhibitions as well as overspill seating for major services and concerts. The Palm Sunday service starts off here and moves into the main space, and Maundy Thursday services are usually held here to name but two. A large toaster provides service since the planned Bridge Organ never materialised. When this area is in use as overspill for services and concerts, screens (and sound re-inforcement) are set up so that the people can have an idea what is going on half a mile in front of them! Certainly for the major Christmas services every part of the building is full - Well, Transepts, the lot, and last year two sittings of Christmas Eve afternoon were needed. I have sung at many incredible services and events in this wonderful place but the Darkness to Light service, (Advent Sunday) where the Choir gradually processes from West to East and ends up on the Altar steps looking West, with a Cathedral full of candles held by the congregation, is the most magical sight. Adrian
  2. David's playing was astonishing and his mastery of the music quite amazing. The organ sounded fabulous and he really threw it around the building all night, so much so that top g# of the solo tromba blew out of its boot - I found it lying on the passage board when I tuned today!
  3. Yes there are a number of local options, in particular the system made by A J & L Taylor. Presumably there was enough pressure once upon a time so what has changed? Fitting an electric machine is a very involved process indeed, both at console and job end - which organ builder looks after the organ, surely this is for them to organise?
  4. Liverpool Cathedral and Georgie Hall both have external humidification feeding into each swell box. Given humidity is usually around 30% every little helps! LC has two W&W D16s per side and SGH has one D16 each side - glad I'm not paying the water bill!
  5. I agree with ajsphead. At Liverpool all the undulating ranks are tuned with slightly different speeds according to their voicing and the effect they give. I tune the unda maris with the slowest beat, keeping it even to the top. solo strings, which are the most biting, the fastest, getting slightly faster in the trebles. the strings are angelicas so tuned flat. Interesting idea from Friedrich, will have a go sometime and see how it sounds.
  6. HTC is a wonderfully historic place , very light and airy, but with no ideal place for an organ. The H&H in Leigh is a superb example of organ building and whilst it isn't really my place to say more . . . . . . . you may think that it has been bought by HTC, removed from Leigh church and stored in a secure location but I couldn't possibly comment . This has all the makings of something really special and I hope enough money can be found, and a decent scheme drawn up, to bring it to fruition.
  7. I have many memories of the old organ, none of them good. . . I remember trying to practice on it in the early '90s and regularly giving up as it constantly ciphered. I forget what temperament it was tuned to but given the roles it had to fulfil I didn't find it pleasant. There isn't much space there so it will be interesting to see the design.
  8. Down at the bass end it is relatively easy to distinguish the different pitches but as you rise through the keyboard, and/or more ranks are added, so doubling pitches, I eventually blank them off with a pipe cleaner or a wooden peg.
  9. Whilst the Tuba Magna at Liverpool Cathedral doesn't go down to 16' pitch, there is a Contral Tromba 16 on the Solo, on 20" and a Contra Tuba 16 on the Bombarde on 30" Both are independant ranks so the organ doesn't lack punch at that pitch SGH Tuba Mirabilis is indeed a wonderful sound.
  10. Did anyone from the forum make the recital at Liverpool today? I recon today was my 30th consecutive anniversary recital and I thought Ian played fantastically well and made amazing use of the organ. Despite being written for the organ at the other end of Hope Street, the Mathias Invocations worked brilliantly. I really enjoyed the registrations of both Debussy transcriptions which really showed off the strings and solo flutes. A more apt hymn (Angel Voices) could not be sung at this occasion - craftsman's art and music's measure for thy pleasure all combine.
  11. thanks everyone, very helpful input.
  12. Hi Folks, Does anyone has experience of the organ part of the original Full orchestral version of the Durufle Requiem - i.e. how difficult it is? I have been asked to play it but knowing how fiendishly difficult the organ solo arrangement is I am wary of saying yes without knowing what I am letting myself in for! thanks
  13. Just seen this on Liverpool Cathedral's website. Should be an interesting evening! Notre Dame Organist to perform at Liverpool Cathedral Olivier Latry, the internationally-renowned organist from Notre Dame Paris, is to play a Gala Concert on the great organ of Liverpool Cathedral on Saturday 29th June at 7.30pm. He will present a mixed, popular programme in his own inimitable style, and the programme will include work by Louis Vierne (Carillon de Westminster, Clair de lune and Feux follets), Olivier Messiaen (L'Ascension) and Thierry Escaich (Evocation II), after which, he will improvise on a submitted theme. In 1985, aged 23, Olivier was awarded the post of one of four Titulaires des grands orgues de Notre-Dame, Paris, alongside Yves Devernay, Philippe Lefèbvre and Jean-Pierre Leguay. In addition to this role and his teaching positions, Olivier has an active career as concert performer, playing in more than forty countries across five continents. Olivier has gained a reputation for performing music by his contemporaries. He is renowned for his performances of the works of Olivier Messiaen and has recorded the complete organ works of Messiaen for Deutsche Grammophon. He is also considered to be a distinguished improviser, in the tradition of an exceptional French line that runs from Charles Tournemire through to Pierre Cochereau. The concert will raise money for Liverpool Cathedral’s £900,000 Organ Appeal, now in its fourth year and standing at £350,000. Completed in 1926, the cathedral's great organ is one of the supreme examples of the craftsmanship of Henry Willis & Sons, with 8 manual divisions and pedals, 199 drawstops, played from each of two consoles, and comprising the staggering total of 10,268 pipes. Built as the largest musical instrument ever conceived, the Grand Organ of Liverpool Cathedral is one of the greatest church organs in the world and the largest organ in the UK today. Olivier said: 'It has always been my wish to play on Liverpool Cathedral's iconic instrument and I am delighted to be doing this at long last'
  14. O.K. folks, here are some more details of the organ: Rank A 8' STOPPED BASSES (narrow scale) Wood 12 pipes 4' HOLZFLOTE (STOPPED FLUTE) Wood 54 pipes Rank B 4' ROHRFLOTE (CHIMNEY FLUTE) Metal 54 pipes Rank C 2' GEMSHORN (C to C) 49 pipes Rank D 4' OPEN BASSES (GAMBA PIPES) 12 pipes 2' PRINZIPAL 54 pipes Rank E 16' SORDUN Free Reeds 30 reeds Great (lower) Principal 8 C Stopped Diapason 8 A Octave 4 C Chimney Flute 4 B Gemshorn 4 D Twelfth 2 2/3 D Fifteenth 2 C Cornet V A/B/D Swell (upper) Rohrflote 8 B Gemshorn 8 D Nason 4 A Nasat 2 2/3 B Blockflöte 2 B Klein Quint 1 1/3 D Tierce 1 3/5 B Krumhorn 8 A/D Pedal Resultant Bass 16 A/B/C/D Bourdon* 16 A Principal 8 C Flute 8 A Choral Bass 4 B Fifteenth 2 C Mixture II B *TC - bottom octave repeating Five thumb pistons to Great and Swell Five toe pistons to Pedal (Fully adjustable) The stop derivations indicate only the main ranks used. Some pipes from the other ranks have been added or substituted judiciously to enhance the sound. The derivation of stops can be altered with the use of a computer program, which would be supplied with the organ. Any pipe or electronic sound (via MIDI) can be assigned to any key. The pedal 16’ Sordun in the original is a set of 30 free reeds, but they do not work very effectively. For that reason, along with the tremulant, they have not been incorporated in the new April 2011 specification. However, they are all in place, with the action intact, and they might be made to work by someone with a little knowledge and some enthusiasm. The rest of the instrument is in full working order. Six new stop knobs were added above the upper manual in 2011. The organ was designed by the late Ken Smith, and built by Terry and Andrew Fearn in 2007. Dimensions: 4’10 wide, 3’2 deep, 7’7 high.
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