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sprondel

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Everything posted by sprondel

  1. Hello Niccolo, someone got back to me and helped clearing matters up a bit. There are several extended ranks or units: Trumpet 32-16-8-4, Double Open Bass 32-Open Diapason 16-Open Diapason II 8, Bourdon 32-16-8. The first 12 of the 32-foot flues are actually wired Quint combinations. The Trumpet 16-8-4 unit went in when the organ was first installled in 2008 in its original case, the 32-foot octave was added with the later enlargement. The Tuba has its own short chest just between the case and the southern wall of the transept. About what fits, or may fit, into a case, opinions
  2. Someone from the German Pfeifenorgelforum commented yesterday on how cute the ears looked on the bottom right pipe. Indeed. Best wishes, Friedrich
  3. Fraser has become a staple in the German online organ community over the last one to two years. What I like about him is how he embraces the many facets of the German organ culture, as you can easily see from his many organ portraits. They cover a huge spectrum, including organ reform instruments, your basic seventies or eighties parish church German organ, organs built specially for contemporary music, the pseudo-French giant at Bonn-Beuel and now Gackenbach. I suspect you won't find many colleagues of German origin with such open enthusiasm and relaxed attitude to diverse concepts and repert
  4. Well, St Stephen’s is a very large and acoustically difficult space, in fact quite cavernous, built from rather porous limestone that tends to swallow up much of the sound energy. kropf knows it intimately, perhaps he could provide some more specific insight. I think it is exactly the kind of space that needs an awful lot of organ, and especially a Great division that can sing out from pole position, if you want to arrive at anything approaching a satisfactory musical experience. I am quite sure that this was the rationale for massaging the huge Great into that very narrow space. I wish I coul
  5. Internally, the organ is laid out quite interestingly. The arch under which the instrument sits has another connection about 5 ft behind the main façade of the organ, a diaphragm arch 5 ft deep and 10 feet high where it connects to the pillars on either side (scroll down on this page to see it during construction of the new organ). This arch, hidden by organ cases for centuries, posed severe acoustical problems for the 1960 organ, as most of the pipework was placed behind it. The arch, needless to say, is indispensable for the statics of the building. Rieger, however, managed to get their
  6. Is it just me, or is there anyone else who also can’t unsee the sleeping monkey king in this curious case? Just wondering. All best wishes, Friedrich
  7. I love this one. A showpiece indeed, if rather an inverted-flamboyant one. https://www.dropbox.com/s/mwu1n68ezbvfb2o/02 Raitio_ Canzonetta.mp3?dl=0 All best wishes, Friedrich
  8. I just found an older comment in another (now defunct) forum in which an organbuilder suggested that the »Terz« approach worked best when applied to the first 24 or 30 notes, from there continuing in pure octaves, so that the beats won’t increase at the former rate. More than one other contributor back then wrote, however, that they tuned individual notes, just by ear, the only condition being that the ranks are positioned sufficiently far apart from each other. All best wishes, Friedrich
  9. In German organbuilding, there is the term “Terzschwebung”, and I understand that this is the most frequent method of celeste tuning. It refers to the tuning process: Both ranks are pulled, and a major third is played; in the sharp rank, the upper pipe is silenced, while in the unison rank the lower one is. Then both remaining pipes are tuned to a pure major third by way of sharpening the celeste pipe. For a flat celeste, the silencing would be done the other way round. That way, the beats per note will increase with the pitch in a pleasant way, and it’s quite easily done. Is this the usu
  10. In an interview in Orgel International, Olivier Latry repeatedly mentioned Messiaen using his own recordings as points of reference. Apparently, when discussing the music, he sometimes turned to his wife, asking her how again he had done it for HMV’s « Messiaen par lui-même ». So, peculiar as they appear to be when compared to the printed music, he considered them to be of prime importance. On the other hand, he seems to have been very pleased when he witnessed dedicated performers such as Jennifer Bate or Almut Rössler playing his works. Rössler recorded them on three instruments that we
  11. In fact, additional to the Guillou recordings (Mussorgsky & Stravinsky, Bach), there are a number of recordings by Ulrich Meldau with orchestral repertoire (Dupré & Demessieux, Bossi, Bartmuß). Gunther Rost recorded one of his Petr Eben CDs there (Job), and there are recordings of light music by Ursula Hauser and of Castelnuovo-Tedesco’s organ music by Livia Mazzanti; David Zinman conducted Strauss’s Festival Prelude there. Apart from the Guillou recordings, however, I consider Keith John’s GEO portrait for priory the most spectacular (Mussorgsky & Alain, Trois danses). Thus,
  12. No. 5 is really grand and dramatic, with lots of fire in the first movement and Scherzo and an enormous and well-orchestrated climax in the finale. The second movement, Adagio con espressione, is quite worthwhile as well. My favourite Guilmant sonata by far. Get Michael Schönheit’s recording from the Leipzig Gewandhaus—surprising choice of instrument as it may be, it is incredibly intense throughout. The Morceau de concert op. 24 is a fine piece which works with two subjects and their combination (as do several movements of the 5th sonata). Best wishes Friedrich
  13. The smaller organ dates from about the same time as the larger one. It was built in two stages in 1467/1515 by unknown builders, and was rebuilt and enlarged in 1636/7 by Friedrich Stellwagen, one of the most important North-German builders of the era whose main achievement is the large and incredibly beautiful 24-foot organ at St Mary’s, Stralsund, which has been restored around 2000 to its original state. The small organ at St Jakobi is one of the most important landmark instruments in the North. After much enlargement and rebuilding, which included the case (the rebuilt one, incidentall
  14. Dream situation. My scheme would be to find the best builder who has the best of voicers on his staff, answer all his questions about the music programme, and then see whatever scheme he comes up with. Best Friedrich
  15. ACCH, 64', 5-manuals? I'd suggest Three organ geeks meet at the watering hole. Best, Friedrich
  16. I am not sure if we had this one here already – search says we hadn’t. I think this is heroic. Apart from being excited from hearing Reger performed so beautifully, and not just considering the circumstances. Best wishes Friedrich
  17. Well, shouldn't that be an easy one? Do a reasonable, well thought-out rebuild/restoration for 1.5 or even 1.8 million, and set the remainder aside to support maintenance, a decent recital series along with the necessary PR work, an educational programme etc. If you spend it all on the product, and it finally sits there, not a single note has been played yet, let alone found its mark. Best wishes, Friedrich
  18. I was more thinking of a more traditional English four-manual standard layout with Choir, Great, Swell and Solo on I, II, III and IV, and everything else floating (probably some Positiv and a nave division). Should that not do for almost everything that was required at Canterbury? In a special situation as that, even with five manuals you would have some divisions floating, at least the nave organ. As for Vierne, would re-assigning divisions not make it in fact easier to play music that was based on a overall three-manual standard with GO, Pos and Récit on I, II and III? Of course the reso
  19. Good to hear that things seem to move on in Canterbury. Only one question, provocative perhaps: Who needs all those manuals in an organ with electric action, where it should be no problem to assign and re-assign keyboards and divisions by pressing the stepper? Best, Friedrich
  20. It’s Amiens. The main case was completed in 1429, the Positif was added in 1620 by Pierre le Pescheur. Here the organ is listed as Cavaillé-Coll-Roethinger. Incredibly beautiful architecture. especially the main case is simply spectacular. Best, Friedrich
  21. It's obviously played by heart – he takes a wrong turn at the end of the Allegro con fuoco and manages only just to go back on track. Same on the very last page of the score – with quite surprising results! It's strange how many players jump into an Allegro which is just not there in b. 16, as Guillou does here – it is still Grave, nothing else is given. But I definitely love his rendering of the initial Grave – and the Bassoon-Sound he finds for the bass is just stunningly orchestral! Best, Friedrich
  22. Hans Peter Reiners – who presided for four decades over the large French-style Oberlinger organ at St. Joseph Bonn-Beuel and managed an incredible recital programme there, that included simply all of the names of modern French organ playing – has turned 65, and is now going to enjoy his live as a pensioneer. Some of you may know him. However, to celebrate this change, he managed to organise an high-level organ marathon (see here) that took place in Bonn-Beuel last sunday. you may witness what three top-notch players and close friends of Hans Peter (along with a congregation of several hund
  23. Try for period instruments.(You know, I hate that edit in the pedal -- D, A, Bb, A, that's not music!) Best, Friedrich
  24. Nicolas Kynaston played the piece, along with some Wiedermann and Germani, for his Hyperion CD from Chichester. Great playing throughout, so supple. Best, Friedrich
  25. We have heard of hybrid instruments. is a hybrid performance, featuring one player and two instruments, one clearly digital, the other one very analogue. Reminds one of what is told about Bruhns, accompanying himself while playing the violin. Best, Friedrich P. S. Oh -- not at all hybrid, it turns out. Fully analogue. Sorry.
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