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Asma a composer? he for one didn't think so, and right he was. Interested in a living Dutch composer who writes substantial works for organ (among many other instruments/settings)? Try my former teacher Arie J. Keijzer, 1964 winner of "Haarlem", pupil of Siegfried Reda (amongst others). More info by PM.

Not quite 'news', but for being complete: St. Pauls

For the record - it's not so much the 'church' wanting this 2nd organ, it were more or less 'outsiders' who eventually found the new (current) organist at there side.

Well, on a linux (Ubuntu?) PC you might try wavbreaker.

The whole world has changed more in the 20th century than in a couple of pre-dating ones, organbuilding somewhat followed. I don't see how this evolution will be changed, doing what already has been done, for me, simply won't do. Even if we can imitate a style exactly, what have we learned from it? I don't believe we can think like Schnitger, Silbermann (Treutmann, Wagner, Trost, Wender et.al), or Cavaille-Coll (Mutin, Puget, et.al) because, as you say, our 'world' is different, and for me, our perception and anticipation is/will be different. Do you really believe named firm would build the same organ as ACC did in St.Ouen-Rouen, should they get the job today?

I meant the organbuilders hailed for copying instruments and/or presenting variations on historical entities as 'their own', while not really defining their own style. Lookup the organ in the Catharinakerk in Eindhoven, that's an organ by named builder in a style recognised as of this builders firm, even though it dates from around 1930/50. And yes, I know time has passed on, the firm may have progressed, and have new/younger leadership .....

With all respect for named organbuilder, I can't really sympathize with there work: copying a certain style may seem interesting, but realize that there are just as much persons who denounce the success of the copies as those who hail them (why build a Bach organ with a pedal to d' - to name a vast point of criticism). For me, their copying is not so interesting: we have REAL Silbermanns (and Thuringian 'Bach'-organs) and Cavaille-Colls readily available and they might be considered 'better' anyday, no matter the workmanship of the copy. If we then look at an instrument that (only) present the firms 'style' (like we know an 'Aubertin-organ', or our hosts organ in NewYork ie.), to me they fall short, as many Dutch organ builders.

Ah, the Dordrecht Bach organ. Based on principles by Silbermann, but not a straight copy/reconstruction, and what do we know about Bach and Silbermann? And what do we know about Thuringian/Saxonian organ building since the IronCurtain went down? Haven't heard it yet, no doubt it will be a good instrument by Verschueren, but if it's really THE organ for Bach? BTW. has anybody counted the number of 'Bach-organs' built over the last 50 years?

For near completeness, some more portables

His number is 0800 1859 1914

For me most important when listening to music, is wether the performer is convinced of the work of art and expresses/communicates this to me/any.listener. If he/she uses more/less rubato or anything is than secondary and possibly academic (using 'newer' techniques not know at the time of the composition etc.) PS. I played Vierne Final from symf.I after (saturday) Midnight Mass last Easter. As 'we' reached the re-entrance of the main theme in the pedals (the last part) the fire-alarm went off with a 'slow-whoop' as it is called, slightly below D-major. Beats any chamade

There's one here.

I've visited a recital by Colin Walsh in "Koelner Dom" last summer, and after shopping and dinner we arrived about half an hour before the concert would start. To find the cathedral almost filled up to the last seat. Fortunately we found seats at the choirstage at the side (Domplatz side). A friendly woman who was already there greeted us (as she heard we came from Holland) and we asked here if it happened more often having such a crowd. She told us that it was quite 'normal' for the cathedral to be filled up on an organ recital, also, many under-50-aged were there. And indeed people brought there own folding chairs. There was an easy-going introduction, the spokesman highlighted the fact of an English organist playing French music in a German Cathedral - which was interesting indeed. General atmosphere was friendly and quite relaxed, as if people came to have an evening out enjoying music. The Klais organs are superb - prepare for something very big an very (bottom) heavy (64'), though never painfull to the ears. AFAIK the programmes are listed on the website beforehand, so check again later. Also, you might try visit the CD store at Saturn Hansaring - there you can get bankrupt easily ....

So much for the much-needed "Neueinstudierung"!::::::::::, nah?

Many in the 1950s knew exactly what 'the way to do it' was; some in our time still do, unfortunately. Anyway, Ton Koopman also used to play the Passacaglia&Fuge flat out, I think there's a recording of it in Maassluis. Just wondering, what could one do with this piece on a large organ like Waltershausen or Grauhof?

Have had flyer on this edition. What's the use? Vierne's work are (or at least have been) on the internet, publish a book with corrections and we're done.. No need to get used to a new layout or changing/copying all fingermarks etc.. to the new scores or working with stubborn paper etc..

Oh yes - quite an expensive piece too when driving on the motorway (flashed again ...)

H.W. Gray Publications A division of Belwin-Mills Publishing Corp. Melville, NY. 11746

Don't miss the (acoustic) 64' then ...

In our galleryorgan by Maarschalkerweerd there is ao. cardboard trunking to the front pipes. These are over 100 years old now, so given the way things work here, they're historic, they're 'artisan', they should be kept/restored/copied, and above all should be admired to as better then anything 'modern'.

...if she practices to play other things than chords with the left hand, ok?

Agreed on the Hill consoles, even the small one 'chez nous' is wonderful - everything is there were you need it

Read here (at about 1/3 of the page)

Come and play some old organs in Holland; then 'judge' again. Try ie. playing a organ by Smits, where you can't move the bench backwards (because of the fake rugwerk) at my 1.92m length ...

According to Olivier Glandaz (who serviced the organ for years) this should no longer be true since the recent restoration.