heva

Hans Liberg? http://www.hansliberg.com/

Right-mouse click etc. will do it (don't know if Barry allows it). Hopefully all images are kept - would make a nice movie when the organ is finished!

:angry: Not so very much left to like back then ...

William Bolcom's Gospel Preludes are my number 1 avoidable pieces (for now) - had to learn one for Erfurt. Ridiculous waste of ink ...

The early version was also from Durand, funny though that the newer one doesn't mention corrections/changes. If you're interested let me know, I could post the notes ....

Maybe in his wisdom he was right. But he didn't like the Requiem much either - the story goes that Dupré rescued the manuscript from being thrown in the fireplace. Personally I like the (revised) Toccata a lot.

I have two versions of the Suite, an old one and the 'current' one, they indeed differ in the ending of the toccata. But if you're interested in Duruflé's revisions, check out the Scherzo, of which I also have two versions: The 'old' version (probably somewhere around 1929) differs a lot from the current, in notes (especially the last 'fast' part) and registration. Duruflé should have forbidden the use of this old version as Susan Landale taught me (she knew Mme Duruflé well), but I like it. BTW Frederic Blanc insists on using the latest versions of all works, me pointing him to possible interest in different version in concert or on disc didn't change his mind - 'please, only use the latest version' (just wondering what 150 years will do with that, 'Authentic Duruflé' on period instruments ....)

I agree: Read about Jenö Jandó - the Hungarian pianist who recorded/records for Naxos. Look at his repertoire, and try to think that he plays it all (and hów!) from memory .....

ROFL

Seems I have to correct my Vierne Symph.1 score .... In 1937 Vierne died at the console, now he gets butchered at it ...

If you're going/coming to Breda let me know - I live there ;-) John Scott quite likes the Flentrop organ - but it'll probably not be available as there's much going on in the church. Our Cathedral church (just a few hundred metres on the other side of the marketplace) could be an option, unfortunately the great organ is way too small and in a bad state (working on that ....), but we also have a small Hill organ though

Just wondering if <the banned stoplistwriter> has finished typing the stoplist for the pimped up übergrossgreathauptgrandorgue manual ;-)

Links are welcome !

Organs/venues enough, that's for sure, but it may be a bit short time to get things organised. Maybe you can send more detailed info by a PM?

Some 200 LP's, 300 MC's, 2000 CD's, and 'some' MP3/RealMedia's

A very difficult one, but I could live with this (dutch namingconvention for a change): hoofdwerk: bourdon 16 prestant 8 roerfluit 8 salicionaal 8 octaaf 4 fluit 4 cornet IV trompet 8 zwelwerk: diapason 8 holpijp 8 gamba 8 voix celeste 8 fluit harm. 4 nasard 2 2/3 piccolo 2 progressio II-V trompet harm. 8 hobo 8 pedaal: contrabas 16 bourdon 16 (tr. hoofdwerk) open bas 8 (tr. prestant 8) violon 8 (tr. salicionaal 8) bazuin 16 trompet 8 (tr. hoofdwerk) I+I 4 II+II 16 I+II 16/8/4 P+I P+II

A "Civil Partnership ceremony" - is that what it's called in English these days? Maybe "Où s'en vont ces gays bergers - Daquin" is appropriate on some of them. This is joke, ok?

And how about the Toccata by Marcel Lanquetuit? I like that one - anyone heard the David M. Patrick recording at Blackburn (Priory)?

How about this one?

Hmm: Franck (not complete!), DG, Latry, NDdP - seems like the recipe for something spectacular (though I find the Messiaen somewhat 'cold').

I agree much with Pierre, maybe adding that a 'good' action gives 'the right feel'. I've played a lot of tracker actions that just don't 'respond' - yes, you feel mechanical action, but the speech of the pipes is not 'in sync' with th feel in the hands (sorry for maybe being a bit fuzzy). On the other hand, my unreliable tubular pneumatic organ, dóes give that feel (which I also remember from a Anneessens pneumatic) - the way the pipes speak corresponds to the (action)feeling in the hands - which makes it quite agreeable to play on (even do it's unreliable and the console proportions stink).

Listen to the very first recording of it, after being restored, Jos van der Kooij 'improvising' Note: only the middle track is recent (the intro isn't Haarlem at all I think) For pcnd5584: there is a organrecital in the Concertgebouw in Haarlem next sunday (familiyconcert, Dukas - L'apprenti sourcier with Van der Kooij at the ACC) BTW. Ofcourse you're welcome in Breda (though there's nothing going this weekend), but unfortunately I'm not able to show you around if wanted (busy doing too many things in too little time, again -)

Sure, but 'historism' seems the way to go here - so these 'historic implementations' are now recreated in (the few) new instruments: unpractical stopknoblocations, unergonomic sit-position, stupidly high pedal sharpnotes, "setzer? never heard that word ..." But as I said above - we are só flexible. (Mind you: the 'poldermodel' surely didn't made it into organbuilding ;-))

Dear, oh dear, I wish I could discuss one standard over another: here in the Netherlands nearly every organ has its own 'consolestandard' (e.g. can someone explain to me for what purpose mechanical operated stopknops above the musicdesk mostly go the heaviest?) But,as always, we organists are flexible ...