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"there is no particular reason why an instrument of this size could not have both types of compound stop; perhaps as an alternative to adding yet another big solo reed...."



This is indeed common sense, but we may understand the matter from another viewpoint.


The guy who has a Cadillac 1958 might sometimes dream to drive a Porsche 911, but even

with 10,000 hours of tuning you won't get something like that out of the Caddy; same for

as characterfull an organ as that one.

You won't compete with Alkmaar, Waltershausen, Poitiers,etc, whatever number of neo-baroque

high-pitched mixture ranks and "french" reeds (a true joke that one, as we will see below)

you might pile from the bottom to the top of the cases, and even over the roofs of them.

It will still not be a place to compete in "clarity of the polyphonic textures", to speak like

the neo-baroque belgian tribe of the 1980's.


But listen to that video again !


We on the french forum were surprised with those incredible chorus reeds -something

no big Solo Tuba will never surpass, agreed-, and how french their colors are.

This was obtained with other means than Cavaillé-Coll's, no doubt (higher wind pressures,

loadings in the bass etc), but the result lends to think that if you british really wanted

to have something competitive in the french romantic repertoire, this one could

do the job better as any copy you may dream of.


And for Vierne, where would be the problem with deeply-pitched tierce and septième

Mixtures -whose roots lie somewhere between Weingarten and Notre-Dame, typical

with Post-romantic organ designs- ?


Go back, again, to the Video, at 6'; you hear there a reed used like an Hautbois, but that would

be the grand Trumpet anywhere else, perfectly matched to its acoustic surrounds to the

point it makes sing the stones ("elle fait chanter la pierre"); the acoustic sings litterally

with, and the magic appears. This is a common trait with all successfull organs, whatever

style they belong to.


A "keeper" also. And you know how stubborn a flemish historian can be ! :rolleyes:

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  • 2 weeks later...


Thanks for these.


I have been trying to find a good recording of the entire series. I did record the original broadcasts on VHS, but it is not the best quality. If only they would broadcast them again, I'd record on to DVD. I'm not holding my breath, though.

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The Ride of the Valkyries arrangement has a story behind it - apparently DGW wanted an easier version than the Lemare to learn fairly quickly - it was suggested that she use this version - arranged by David Patrick and (sorry - plug alert) still available from Banks music publishers.



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Here's an interesting clip featuring numerous organs from around Europe but rounding off at Salt Lake City, USA. It isn't clear if the organ music being played (what is that piece?) is being played on one of the instruments shown.


The clip is at


The organ of St. Anna, Warsaw (shown with its red case in the above clip) looks splendid. The case is mid-to-late 1600s: pity the organ isn't as old as it was rebuilt in 1992.



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Firstly, the famous 1610 organ in Fredriksborg Slot, Denmark played by Carol Williams.

I and a friend got locked in there once - also - visible one the video - the 4 man. at the other end is quite fun too - you sit behind to play - headphones are provided to hear what the people in the chapel hear. There is also a further organ in the gallery behind that one - in a sort of cupboard!



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Here a somwewhat different BWV 562:




There are some points that deserve discussion, no doubt,

but at least this interpret tries to get out of the "Neo" vision

of the 20th century. The general Tempo I find to the point.



I liked some aspects of this - with reservations. There was a slight inconsistency (and subsequent lack of neatness) in the execution of the ornaments. Although I liked the sound of the registration used in the middle section, I would not change stops when playing this piece. I felt that the rather heavier registration used towards the end was detrimental to the performance. The only other point was that I felt that it was a little too slow.

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I have come across this organist personally - a Feike Asma disciple with a very heavy touch. His father, as Pierre doubtless knows, is a respected organ historian, author of the definitive text about the organ builders Witte.



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Indeed, Bazuin,


And this work deserves a little add here, I think:




I partially agree with Pcnd's remarks. The tempo may appear sluggish at times,

but I like its "average speed", though. The final crescendo could be dispensed

with. But I would like to hear that on a period thuringian organ.



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Behold, The most pleasant sounding instrument that has been built.

It astounds professionals as to how any organbuilder could create such wonderful art

Karg Elert's Marche Triomphale will be demonstrated by Diane Bish



What on earth is wrong with the sound here? I'm sure this must be a very fine organ, but the sound quality of the recording is just vile. Is it a transfer from a worn and stretched cassette tape?

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What on earth is wrong with the sound here? I'm sure this must be a very fine organ, but the sound quality of the recording is just vile. Is it a transfer from a worn and stretched cassette tape?


Nope, the poster of the video was there while Diane was playing and he said the organ sounded even worse in person!

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