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heva

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Posts posted by heva

  1. Can someone explain to me just what exactly is the point of a 64ft stop? It's not as if they add much, if anything, to what with 32fts is already going to be a pretty complete Pedal division. Could it perhaps be something of a virility symbol? Whatever the reason, the musical argument for such a stop eludes me.

     

    They add weight as said above, but it differs what kind of stop it is - a high pressure diaphone will shake the floor/building probably more than something flue-acoustique ...

    Further, in a 'giant' stoplist it may show like the penultimate stop - 'nothing left to whish for'

     

    For Atlantic City you might listen these samples. Though they are in mp3 and not all stops available ( :) ).

     

    For Sidney Town Hall sample check out this site. Speaking prompt eyh mate ??

  2. Just for the record (or CD rather), the recordings by Kynaston in Westminster Cathedral (Dupré evocation & sinfonie2, Duruflé suite) is available on CD - I bought it last december at Saturn in Köln, on the MITRA label nr. CD16250.

     

    So if you can't get it by the web, get over to ze Hansaring and get ze cd overzere ...

    And check out the Dom-organs afterwards - it is said to take just a little while until the new chamades at 1000mm windpressure (!) are placed at the west-end.

  3. As far as I know, this rank is acoustically produced. The longest pipes in this organ belong to a metal pedal rank and are approximately forty feet long - i.e. a 32p stop with longish feet.

     

    There are at least two such stops in the UK - The H&H in the RAH and Liverpool Anglican Cathedral. I heard the latter in a recital last August. I cannot say that it was particularly audible in louder registrations, there being so much tonal weight to the sound of this instrument in any case.

     

    However, Ian Tracey did use it on the last chord of a very quiet piece. I have to say that it sounded slightly odd - almost like a 32p stop which was out of tune, as it were. Personally, I preferred the sound of the three full-length 32p flue stops.

     

    I think that you would find that an open 32p rank would cost considerably more to make than any of the other pitches you mentioned. Whilst mixtures would indeed be time-consuming to make, the sheer cost of the raw materials needed for a 32p rank alone, would outweigh this. I do not know whether wood or metal would be more expensive.

     

    Whilst 32p reeds are manufactured n this country occasionally, I cannot recall whether there has been a 32p flue manufactured by a British builder since Liverpool Roman Catholic Cathedral Organ was built in 1965, by Walkers. This included a full-length tapered 32p Spitzflöte.

     

    For new stops these days, I estimate that one is thinking around £11,000 - £18,000 per rank ( including a percentage of the cost of the soundboards, action and building frame, etc) - depending upon the builder chosen and the rank in question. However, I have had to base those quotes upon information obtained a few years ago, so this may well now be out of date.

     

    In any case, for a 32p stop, I suspect that one would pay rather more than this.

     

    I thought it was the diaphone rank of 64' length, pictures are on this site.

     

    Does it add something? well, listening to the final part of 'Ad nos' where the 64' kicks in (so they say), the bass stands well against the volume of the rest, deep and profound.

    Maybe an exponent of what was there once in a not to be revealed English city so much debated on this site? :huh:

  4. Yeh I enjoyed that too.  Are the scores of the transcriptions available?

     

    Look foor them here

     

    I like these thing for study, playing them is another thing - one is not Cochereau, the organ not NDdP in the 1970's.

    But just imagine that this material 'simply' arose when the great Pierre sat down and drew some stops ....

  5. Get the DVD - it's nice ...

     

    I would also preferred more footage of Cochereau, but it gives a good impression. Certainly the summertour with the Hartmann-positiv and the improvisationclass in ND is good fun. Just see how the scherzo-symphonique on the flutes-harmoniques is tried by a young Maurice Clerc and then the great Pierre plays an example - if you ever wanted to get a minority complex it would have been that moment (one pities MC); absolutely stunningly brilliant (no sign of 'showing off' though).

  6. Hmmm.... I thought that the diaphones, apart from being disconnected, were incomplete, H&H (or Wood) removing as many as they could reach and just leaving in the lowest few.

     

    Pierre would be delighted if the whole 32p rank were still there - I have a copy of the GCOS Worcester LP, with Christopher Robinson using them during a Mendelssohn Sonata (No. 3)- incredible sound!

     

    I'd like a copy of that ...

  7. to mr heva of holland

     

    all is forgotten

     

    as for st peter i would not hire dobson

    john h hendriksen of holland who was head voicer at aeolian-skinner said he would do a grand organ for st peter at cost no charge for labor or profit and he has already done so in mexico for a cathedral in the yucatan and the results r stunning as a video was made and he is interviewed on there as well as some playing by fred hohman an eccentric usa organist.

     

    Hmmm, sounds interesting - you don't happen to know an eccentric billionaire who might fund an organ for St.Peter's?

  8. If you go to:

     

    http://www.worcestermusicandlight.com/aims.html#pipes

     

    you will see the proposed designs for both instruments. The coloured one on the left is for a Nicholson organ and the one on the right is Ken Tickell's design. I think the proposal is that both organs are to be built, maybe with a common console as well.

     

    John Pike Mander

     

    Hmmm, the site seems to have gone, wonder what that means for the organ(s) ....

  9. to heva of holland:

    u mention here that americans would have stuffed st peters with beasts referring to american organs

     

    besides the rebuilt christian muller at haarlem by marcussen and the schnitger at alkmaar what other world class organs do u have in ur country?

     

    Steve, I'm sorry if the word 'beasts' offended you - it was not intended, English is not my native language and sometimes one failes the right word/expression.

     

    As you may have understood from Pierre's reply, I dó have an interest in the British/American organ, and I would certainly be very interested to see an organbuilder like i.e. Dobson build a GrandOrgan for St. Peter - Rome.

    Maybe our collection of 'worldclass' organs here in the Netherlands may be seen as 'more of the same', but our country is somewhat smaller than the US (but maybe the term 'wordclass' can also be used on (very) small historical organs in fine shape of which we have a _lot_), I certainly agree with Pierre that we're missing a good (and large) Skinner (like Girard College, or St.John-the-Divine, NYC) overhere.

  10. II - swell

    *stopped diapason 8 (round tone with much fundament)

    dulciane 8 (like a soft diapason)

    voix céleste 8 (like the dulciane)

    *gemshorn 4 (a small(er) scale principal)

    mixture III (soft)

    *oboe 8

     

    I - great

    *open diapason 8 (to add 'power' to fulls-well, sounding rather 'old')

    *lieblich gedeckt 8 (open, clear tone)

    *principal 4 (with a pronounced 1st harmonic)

     

    P

    *bourdon 16 (round tone, very fundamental)

     

    I+II 16/8/4

    I+I 16/4

    II+II 16/4

    P+I

    P+II

     

    Very much like my own William Hill & Sons opus 2324 (*stops) :P

  11. so all u conservative english wait till the next generation come to the helm. u will see gallery II strings gallery III flute Gallery IV reed west end swell west end pedal west end bombatde mirabilis central space portativ and all kinds of gadgetry.

     

    Hmm, it may be that this 'next generation' is well educated and just simply understands what the St. Paul's Willis/Mander is about and subsequently respect and use it like we're used to respect and use the baroque organs we have overhere.

    For sure - no living soul would want to add the likes of quoted (in my opnion) insanities to musical monuments as Grauhof, Weingarten, St. Maximin, Haarlem or Alkmaar (to name just 5). So why on earth dó add them to St.Paul's? One also wouldn't pimp a DB9, would one?

     

    And if you allow me, I don't exactly call myself 'conservative' and I'm not English either.

  12. improvements to st paul could include a clarion 4 to complement the dome posaune16 and trumpet 8 on 17" wind. also the chancel swell can use a 4ft flute and a quint mixture. the altar can use a quasi echo/ethereal section with sylvestrina and sylvestrina celeste, cor de nuit, flutedamour8 fernflute, voxhumana and the like. the quarter galleries abutting the dome could be assigned a family of tone....one of pure string tone, one of flute and one reed and u already have theNE diapason chorus. the back gallery can use more ...a swell with pedal to make for a 2 manual plus bombarde using the diapason chorus back there as a great and a new large swell with english and continental reed choruses and a sound pedal with 32ft basses of metal. that will provide some solid foundation back there. still u need one stop on 50 inches to tie liverpool....a bombarde mirabilis hooded of extra thick pipe metal bolted to the soundboard so it does not fly off as did one state trumpet at st john the divine one time.

     

    Maybe it's just me, but last time I heard St.Paul's (La Nativite by Scott), I didn't realy miss these proposed addtions ....

     

    Surely, enough is enough, isn't it?

  13. Preferable to have an honest English name than some horrible bastardisation like Contra Posaune

     

    or like Nasard, or Tierce, or Gedeckt, or Voix Celeste, or Spitz flute, or Cor Anglais (!)

     

    But we'll see what this new organ will become, shoud it fail to deliver, the words sack and butt will be used in another context ....

  14. Funny, in a way I get the feeling it's has much similarities to what is already there, on the other hand I get a feeling that there's something (for us continentals europeans) typically english missing such as multiple open diapasons one manual. And what is a 'sackbut 32' (and why would you want/need one, if you have a trumpet 32' and a diaphone 32 (though muted) 'in situ')?

  15. Well, John Scott playing La Nativite du Seigneur by Messiaen at St.Paul's made me cross the Northsea in 2002 & 2003. Hearing John Eliot Gardiner and The Monteverdi choir with Bach cantatas made me race to Muhlhausen in Thuringen (Germany) - a once in a lifetime concert for sure ...

     

    Things like that ...

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