heva

Well, there's http://orgelradio.eu/ now.

As for wages, NDdP paid Cochereau just enough to keep him on Gauloises ... [though I think, he could do without the money]

Not sure if it was already mentioned, but IIRC the casework of the former 'positif de dos' was still present (in storage) in PC's time.

May Guillou live forever, otherwise this organ may be quite useless for most other material. Also, hopefully there not that many dogs around there with all those high pitched mutations ...

Also depends on the style of the pedals; those carillonlike big and clumsy pedalkeys we often have 'here', especially those with high rounded sharpkeyes were you can nicely break your toes under, can be uncomfortable with narrow shoes. On the other hand, 'my' pedalboards require some quite slim shoes and (on the Loret pedalkeyboard) small feet because the keys are so short.

Yes, in NL we nearly always have to play it on one manual. The secret? well, if any, having very flexible hands/wrists/arms does help.

'Labric' is french for stunning

The Reuchsel has come available on CD: http://www.solstice-music.com/en/album-reference/SOCD289-REUCHSEL-Eugene-Strolls-in-Provence

It'll probably be a nice organ, yet somehow it seems strange to me, having an organ in the ELGAR hall, on which you cannot play his sonata (well, stylisticly etc.etc.) ...

My guess is, it's still there; PhilippeLefebvre tends to use it on June 2nd ...

Carbou states the PC bench was kept AND put in a dust bin? It appears to be kept:

Hmmm, actually I'm starting to appreciate this new NDdP console, with the curves, terraces and sort of 'visual forward direction'. I think the right hand jamb has stobknops for the couplers, hence the tablets black to make them unobtrusive? The light colored wood looks a bit cheap maybe (probably isn't), but that may well be due to the photo.

Morris Marina goes well with grandpiano's falling from the sky ....

Yes, it'll be hard work, expecially to keep things going.

Hmm, 'stopped listing' was a typo, I meant 'stopped listening'. The amount of errors/mistakes is just too much for my taste, fail to see them as an historical informed way to present this musical data, though after a 2nd try I really enjoyed the 'jazzy' (inégale?) way which he rendered parts of the D-dur fugue. Or to be even more clear, it was crap playing.

Indeed, stopped listening after the first bars of the Bruhns :-(

I gather the beginning of this doesn't count ??

Ton Koopman & JSBach's 'little' g-minor fugue

Not an appointment, but Richard Pinel (UK) has won the 1st International Organcompetition in Breda (NL).

For me some simple 'rules' make life easy: practise hands/feet separately, practise from fast to slow (not the otherway around hitting the brickwall), memorize (structures, proceedings, notes, whatever), LISTEN. Somewhere I read 'good technique is in the ears', I tend to agree.

Some people claim Max Reger's works are palindromes; no difference if played forwards or backwards

No, I see the resemblance; also with this dude ...

And so often also are NOT; like John Scott playing in Amsterdam for +/- 20 persons

" ... but I often have a feeling that there’s something psychologically not connected in my head."