Pierre Lauwers Posted November 1, 2007 Share Posted November 1, 2007 It may be interesting to know that the "Saxon bridge" exists since nearly the restoration.... Father Schmidt, euh, sorry, Smith, was a pupil of Förner (like....Trost). Then came the Dallam and the Harrises back from France with some Trompettes and Cornets trough the customs. Later we have Johannes Schnetzler, as MM mentionned here, a Schaffhausen-born pupil of Egedacher from Passau. (This one introduced even "worse" things....) So it is already the baroque english organ which is an european one, and do not forget the Swell, which existed in Spain decades before 1712.... In the 19th century we have Schulze, yes, and Cavaillé-Coll (some organs), Anneessens (some organs). Would we have the Willis chorus reeds -an all which followed, up to Harrison, trough *sensible*names- without the Cavaillé-Coll's Trompette harmonique ? Germany was another melting pot, with different Orgellandschafte of its own, plus important french and italian imputs. And this, also during the 18th century. Europe, Europe, where are you ? In Brussels ? In the heart of big finance guys, or bureaucrats threatening one trade after the other, like with the lead issue ? No, our continent was more globalized, by far, in the 18th and 19th century, despite the wars -we did sooo far better during the 20th, though-. So it is no wonder Cynic noted the british organ can do justice to much music indeed... Pierre Link to comment Share on other sites More sharing options...
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