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sprondel

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If I might put in a wee word in defence of 8 and 4 ft Open Woods: a good one makes a lovely pedal solo, in part of the range where the biggest manual flute might not have much power. I'm thinking chiefly of use in improvisations (e.g. for canons: left hand on shimmering strings; right hand on all the 8' flutes coupled together, in dialogue with the pedal 8' or 4' Wood - yummy :lol: ). A 16, 8, 4 chorus of Woods, if well voiced, are great underpinning robust hymn singing, and selected Wagner, Hollins, Lemare, Willan et al. And, of course, an 8' Wood can do a good job in French classical music, assuming, that is, that you can find anything else even vaguely resembling a Cromhorne and/or Cornet :lol: But I agree, badly voiced hooting honkers have little musical value.

 

Although I was referring specifically to Arthur Harrison Open Wood stops and their extensions. There are a number of surviving examples. Even Exeter Cathedral still has its Octave extension of the Open Diapason (W). This honks almost as unpleasantly as does that at Crediton and similar ranks on one or two other vintage H&H instruments.

 

With regard to improvisation, I would find a good Chimney Flute (with, perhaps, the addition of a Fifteenth if it is not too incisive) to be more useful - and almost certainly more musical.

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With regard to improvisation, I would find a good Chimney Flute (with, perhaps, the addition of a Fifteenth if it is not too incisive) to be more useful - and almost certainly more musical.

Much much too quiet for what I had in mind, Sean. Even a flat-out, neo-Baroque chimney flute on the pedals would be drowned by the left hand strings (with sub and super couplers, naturally) at that low register. Remember Cochereau... :lol: ? You need that full, crescendo-ing, cantabile 'Flûtes' colour for meltingly beautiful solos :lol: And you certainly wouldn't want more than one pitch.

 

Sadly I haven't experimented at Exeter or Crediton, and I appreciate AH Woods are laws unto themselves, hence my caveats. Perhaps unsteady wind can be an added but fixable problem? But I wouldn't discard them on any organ, merely augment with principals if necessary.

 

All best, Ian

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Compare this with just one instrument which MM mentioned above - Coventry Cathedral - and the contrast is both complete and startling. This is one of the most musical organs I have ever played.

 

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Indeed it is a very musical instrument, and at least part of the reason for that is the fact that it is was voiced in a quite English way with solid English diapason tone. In fact, nothing is remotely extreme about the instrument, but there are those (espicially in America) who say it is "bland".

 

I've never quite understood that, but perhaps it is the lack of extreme colour or extreme excitement.

 

What I find about Coventry, is the fact that it is possible to listen to it for a considerable time, and not feel either underwhelmed or overwhelmed by it. Perhaps it could do with a bit more bite in the pedal reeds, and perhaps a really good climax Fanfare register would not go amiss, but those are small complaints in an otherwise very well executed instrument; built just a few years ater the Festival Hall, and probably everything that the RFH instrument might have been in a better acoustic. (With obvious differences, of course).

 

An equal first, I think, would be Windsor just a few years later.

 

The change in style and execution from what Arthur Harrison did, is exactly how 'pcnd' describes it...startling.

 

MM

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Much much too quiet for what I had in mind, Sean. Even a flat-out, neo-Baroque chimney flute on the pedals would be drowned by the left hand strings (with sub and super couplers, naturally) at that low register. Remember Cochereau... :lol: ? You need that full, crescendo-ing, cantabile 'Flûtes' colour for meltingly beautiful solos :o And you certainly wouldn't want more than one pitch.

 

Sadly I haven't experimented at Exeter or Crediton, and I appreciate AH Woods are laws unto themselves, hence my caveats. Perhaps unsteady wind can be an added but fixable problem? But I wouldn't discard them on any organ, merely augment with principals if necessary.

 

All best, Ian

 

Well yes - but surely you are not suggesting that PC had the equivalent of a Super Octave Wood (4ft.) on his Petit Pédale ?

 

:lol:

 

:lol:

 

[Come and try my Positive Chimney Flute and Pedal Fifteenth versus the Swell Viola and Vox Angelica coupled to the G.O. Viole de Gambe at some point....]

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===============================

 

Indeed it is a very musical instrument, and at least part of the reason for that is the fact that it is was voiced in a quite English way with solid English diapason tone. In fact, nothing is remotely extreme about the instrument, but there are those (espicially in America) who say it is "bland".

 

I've never quite understood that, but perhaps it is the lack of extreme colour or extreme excitement.

 

Incredible - this is one organ I would never think of describing as 'bland'. Perhaps they are forgetting that extremes of colour often go hand-in-hand with a lack of cohesion and blend.

 

What I find about Coventry, is the fact that it is possible to listen to it for a considerable time, and not feel either underwhelmed or overwhelmed by it. Perhaps it could do with a bit more bite in the pedal reeds, and perhaps a really good climax Fanfare register would not go amiss ...

 

MM

 

Well, the Solo Orchestral Trumpet and the Orchestral Clarion used to do exactly this. Sadly, they have been altered - to their detriment. The 8ft. register has actually been revoiced twice.

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