emsgdh Posted December 21, 2016 Share Posted December 21, 2016 Dear friends: I know that we are all beyond busy at this moment, but, just a thought to distract us. Although it is almost seventy years since the building of this organ, I often wonder, what if ? What if it were placed in a "cathedral" acoustic. What if it had normal, English-type, low-pressure chorus reeds. What if the flue voicer had been allowed to nick the pipes. What if it had been scaled using H&H's usual scale sticks. What if HWIII had built it. What if Compton's had built a real rock-crusher, in the original ceiling position planned by the architects. Am I crazy, or have any of you ever contemplated these possibilities ? I have tried to like this organ, tried to appreciate Ralph Downes ideas. I've read and re-read Baroque Tricks. I'm fully aware that there are many authorities who have high regard for Ralph Downes and this organ. His point about balances between divisions is well taken. The usual British/American organ of the period is rarely balanced in this manner. And I quite agree that his revised Solo Organ is the making of it. However, there is one of his basic ideas that I simply can't abide: the elimination of treble ascendant foundations. Organs voiced without treble ascendant foundations strike me as feeble in the French repertoire, just for starters. I could name a couple of much-admired instruments whose foundations have zero lyric impact, but I'm afraid that there would be a chorus of protests. I'm not trying to start trouble here. After all, "Love came down at Christmas." But, I would like to know if anyone else thinks about these things as I do. Kindest regards to all and MERRY CHRISTMAS. Karl Watson, Staten Island, NY USA Link to comment Share on other sites More sharing options...
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