Pierre Lauwers Posted October 23, 2006 Share Posted October 23, 2006 Well, we had an interesting discussion on another thread about the (Open) Diapason in baroque organs, from which we can summarize: -There is no known "standard" for the british Diapason -Harrises could have been actually french Montres, for example, as explained by Paul -What we call "the typical british Diapason" is probably reffering only to the romantic type. When a foreigner tours England, it is this kind of stop he will find -maybe was it more the case in the 70's as it is now!-, and it holds attention because it is something *rather special* I even met -somewhere in a remote corner of Western England- a leathered Open Diapason that did not confirm at all what I had read about this treatment (i.e., "unartistic", etc), quite to the contrary, so interesting it was. Maybe Noel Bonavia-Hunt did not help much to secure a long-lasting recognition and care for this kind of stops, as they may now be associated with his writings, which, interesting as they obviously are for the historian, may sometimes be questionned as one-sided (There is nothing save my own vision of Schulze's work...). I will summarize my vision, that is, how a belgian busy with papers and periods, see these stops: -Heavy, tick pipes with relatively low tin content; -Never slotted (at least the ones I could see the pipes!) -Foundational tone with few harmonic devellopment -....Compensated by the presence of several O.D. on the first manual, with decreasing scales and "weight of tone". -Contrarily to (romantic!) continental stops, they are the basis of a true Diapason chorus (16-8-4-2 2/3-2-Mixture).... -BUT this chorus is not a "classical" one, we would err trying to crown it with a Dom-Bédos Mixture. (See Mr Bicknell's very interesting comments about Mixtures). So far, so good. It would be interesting now to gather comments here from you all who have a hands-on knowledge of these stops. Pierre Link to comment Share on other sites More sharing options...
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