News:

If you have difficulty registering for an account on the forum please email antespam@gmail.com. In the question regarding the composer use just the surname, not including forenames Charles-Marie.

Main Menu
Menu

Show posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Show posts Menu

Topics - David Pinnegar

#421
Hi!

This evening I had an unfortunate accident with the original Makin which is at the core of the Hammerwood instrument from Londonderry Cathedral. I was about to voice some pedal notes, plugged in the voicing cable, slipped and pulled the cable and ever since the Swell and Pedal departments have departed. Stops, pedals and manuals continue to provide midi output.

Jeremy Filsell is due to be coming first thing on Sunday morning to start preparing for the 4pm concert.

Can anyone with Hauptwerk save the day or does anyone have the phone number of David Fetterman or anyone else at Makins?

In view of the recent demonstration of Hauptwerk at Bristol, it might be possible to interface Hauptwerk or seamlessly as a stopgap to provide for the recital.

We need a dry sampleset providing
Swell:
Voix Celeste 8
Geigen Diap 8
Echo Gamba 8
Lieblich Gedekt 8
Stopped Flute 4
Principal 4
Fifteenth 2
Mixture V
Oboe 8
Clarion 4
Trumpet 8
Contra Fagotto 16

Pedal:
Bourdon 16
Violone 16
Open Wood 16
Bass Flute 8
Octave 8
Choral Bass 4
Trumpet 8
Trombone 16

If anyone can help it will give a great deal of happiness to audience, performer and avoid a very red face on my behalf. If not, however, there is still a very significant part of the instrument very much in action but it will require great organistic gymnastics on Jeremy's behalf to overcome. It would also be a great feather in the cap for Hauptwerk.

Many thanks

Best wishes

David P
01342 850594
#422
Hi!

I'm wondering how many organists really know the orchestral repertoire? Even if we play an instrument, we probably know whatever we've played in more from our own instrumental part than the score as a whole . . . Certainly that's my experience.

Accidentally I heard of a concert by the Orchestre Régional Provence Cote d'Azur in Cannes advertised on the radio so I went along to a programme of Rossini, Prokofiev and Saint-Saens. What struck me as audience rather than participant and looking as well as listening, was the extent to which composers used the woodwind section combining flute at 8ft and 4ft pitch to Clarinet or Oboe to thicken them up.

This does not always come over in recorded material where one cannot see the musicians!

Whilst translation of this is inappropriate to baroque registration, it certainly points the way in organ registration to doing likewise, even though only a singular Oboe or Clarinet might be indicated.

Best wishes

David P
#423
Hi!

At the suggestion of an EOCS member I have been looking for ways to increase the number of speakers to provide greater simulation of acoustic reverberation. I've been looking at panel speakers inspired by units available 30 years ago which simply screwed into any wooden or plasterboard panel, but have not found any.

http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=170558339878 look interesting. I'm thinking of putting them in long thin boxing almost looking like cable trunking . . . And giving them a spray of white paint!

Any other ideas for cabinet design?

Best wishes

David P
#424
Hi!

The AGM and autumn London meeting of EOCS is next Saturday.
http://www.eocs.org.uk/scripts/meetings.htm

Particularly interesting for Hauptwerk users are two members in particular talking that day. One talk and demonstration is about recent developments in Hautpwerk and the other is about "free phase" organs and examining whether Hauptwerk is the solution to this.

http://www.eocs.org.uk/ is the website (with a hidden section for members) and http://www.eocs.org.uk/scripts/appform.htm is the application form. I'm sure that if you communicate with Ron Tel: (01737) 844420 treasurer@eocs.org.uk beforehand, you'll be welcome to come and bring your form with you.

Best wishes

David P
#425
Hi!

I tuned a piano for a concert the other night specifically to trial what romantic composers could be doing with effects of temperament in far keys:
http://www.youtube.com/watch?v=Q9vbJxPhN3Y
http://www.youtube.com/watch?v=1nr4xw6wm8c
http://www.youtube.com/watch?v=74BCzJbkiig
http://www.youtube.com/watch?v=tPLIanjtWlk
http://www.youtube.com/watch?v=4x8L4Cvdv9E
http://www.youtube.com/watch?v=HCmXb49S7rQ
http://www.youtube.com/watch?v=c7-WzQhPlQ4

http://www.youtube.com/watch?v=DIQH9ZSDQNk and
http://www.youtube.com/watch?v=fGJAzBK5x84

http://www.youtube.com/watch?v=HJtjS-hAqu4 and
http://www.youtube.com/watch?v=poYNFloS8JY

http://www.youtube.com/watch?v=T9RmzEwVD28

There are problems with the piano action which are offputting to the performer and prevent him from giving of his best. Don't be put off by odd tuning - does it express something? Was it intended to be heard that way? There is possibly one note repeated in one piece that sounds very odd, but not again. Perhaps it's my tuning - although odd as it doesn't repeat elsewhere, perhaps the harmony, perhaps the piano which might do such a thing on loud notes.

Hope it's interesting and hope you enjoy it.

I'd like to be doing things like this with a good organist on a temperament equipped organ . . .

Best wishes

David P
#426
House Organs / Very special house organ for sale
October 19, 2010, 08:27:14 PM
French Victor Gonzalez home Pipe organ for sale

Marcus Perrot writes:
Let me introduce myself. I am the son of Jean Perrot, musicologist and organist, who recently passed away.

In 1948, my father asked the manufacturer Victor Gonzalez to build a home pipe organ. My father was a friend of André Marchal who participated to the specification of the organ to fit the neo-classical aesthetics initiated by André Marchal, Norbert Dufourcq and Victor Gonzalez.
Victor Gonzalez built this organ starting from a Mutin organ and resized, enhanced and transformed to the new specifications and location.
There are parts from Mutin and Cavaillé Coll inside reused by Gonzalez.

I contact you because this organ is currently for sale. While we are trying to find an institution or an individual in France for purchasing this organ, we are also considering the international.
Could you let me know whether there is a way or opportunities to sell this organ outside of France ?

Specifications:
·    Builder: Victor Gonzalez
·    Date: 1948
·    Location: between Paris and Beauvais - France 
·    16 stops
·    15 ranks
·    2 manuals
·    pedal board
·    Mechanical Key and Stop Action.
·    220V blower
·    Great: Montre 8', Flute à fuseau 8', Prestant 4', Doublette 2', Plein jeu 3 r 
·    Swell: Bourdon 8', Cymbale 2 r, Quarte 2', Nazard 2.2/3, Tierce 1.3/5, Dulcianne 8', Flute 4', Trompette 8'. 
·    Pedal: Soubasse 16', Bourdon 8', Flute 4'. 
·    Couplers: Swell/Great, Swell/Swell, Great/Great. Great to Pedal, Swell to Pedal. 
·    Dimensions in inches: Height: 118, Width: 104, Depth: 118

Below are some samples of this organ played by André Marchal during one of his visit at our father's home:
·    Dialogue sur les grands jeux (N. de Grigny): http://sd-2.archive-host.com/membres/playlist/182745231128066808/Orgue_Gonzalez/Grigny.mp3
·    Prélude et fugue en Fa# mineur (D. Buxtehude): http://sd-2.archive-host.com/membres/playlist/182745231128066808/Orgue_Gonzalez/Buxt_2.mp3
·    Choral « Orne-toi, chère âme » (JS. Bach): http://sd-2.archive-host.com/membres/playlist/182745231128066808/Orgue_Gonzalez/Bach_1.mp3
·    Prélude et fugue en La mineur (JS. Bach): http://sd-2.archive-host.com/membres/playlist/182745231128066808/Orgue_Gonzalez/Bach_2.mp3
·    Communion de l'office de la Pentecôte (Ch. Tournemire): http://sd-2.archive-host.com/membres/playlist/182745231128066808/Orgue_Gonzalez/Tournemire_2.mp3
·    Final de la 4éme Symphonie – Extrait (L. Vierne): http://sd-2.archive-host.com/membres/playlist/182745231128066808/Orgue_Gonzalez/Final_4eme_Synphonie_Viene_extrait.mp3
Best regards,
Marcus Perrot
Email: marcus.perrot@free.fr
Tel. 33 9 53 04 40 28
#427
Atheists' Corner / I'm a frayed knot
October 19, 2010, 04:54:29 PM
Hi!

Firstly I'd like to thank the Chaplin of Stowe School on a visit elsewhere for cracking a joke to which he expected no-one to laugh, just to break the ice, and then proceed irrelevantly to the joke. He's obviously a scale model enthusiast*, and in character of scale models the joke bears greater wisdom than was apparent.

One of my sons relates how an eccentric maths beak was relating to his class the advantages of hyperbolic rather than parabolic mirrors. A member of the class asked "Sir, how is this relevant to the Curriculum?". "It isn't", he replied, "so if you don't want to know, you can walk out". At least half the class did.

There seems to be a sad gulf between those who send their children to school to learn to pass exams, and those who send their children to school to be educated, and those children who likewise go to school with those intentions of their parents consciously or subsconsciously engrained. Those who merely pass exams come out of schools, strings of them, only fit for parcel tying job fodder.

There were three pieces of string in a pub who were very thirsty for a good pint. The first piece of string went up to the bar to order drinks but the barman turned him away telling him that the bar did not serve pieces of string. Annoyed, the second piece of string went up to the bar and indignantly demanded to be served. The barman calmly turned him away pointing to a notice "Management regrest that pieces of string are not served here."

The third piece of string took his lower fibres and wildly frayed them out, then tying the rest of him into an unrecognisable knot. He went up to the bar to be served and the barman said to him "But you're a piece of string aren't you?". Not taking this for an answer the string replied "No. Sorry - I'm a frayed knot".

The charming truth of this story is that people who learn how to pass exams may do very well in getting jobs, but that depends on the bar man. The people who can manage to transform themselves into something beyond their own string of qualifications will pass exams that others won't be able to pass and get to places they'd never imagine.

So it is with organs and organists. If we can transform our instrument into something so very exciting that people have to sit up and take notice, then the future of organ preservation and pipe organ building crafts will be assured. Strings of ordinary instruments and ordinary musicians don't excite and they don't jump the bar.

It's for this reason that I urge anyone near enough to a recital by Jeremy Filsell
http://www.organrecitals.com/1/recitals.php?organist=jerfil
next month to move heaven and earth to go to hear him. His enthusiasm and sheer joy of playing is so unbounding that no-one can go away from one of his recitals without knowing that the Organ is the King of Instruments. He's a great inspiration.

It's also for this reason that I have urged anyone making an organ simulation with Hauptwerk and loudspeakers to make their instruments astoundingly superb and not simply settle for standard hi-fi systems that you can go and hear at home.** I annoyed people on the Hauptwerk forum because I didn't give an answer as to what to do to achieve that and instead laid out pointers to thought.

There is no _one_ answer to how to tie a piece of string, but the Frayed Knot thought very hard about it, and thinking can be very painful, as is the physical process of dissection of ones strands into many fibres and contorting oneself into a tight knot. When one does so, extraordinary ideas are squeezed out like drops of water from a damp string :)

I'f you've come from elsewhere, welcome to the land of the Frayed Knot and the superlative focussing powers of Hyperbolic mirrors.

Best wishes

David P.


*Scale model enthusiasts may find more Stoic jokes:
http://www.scale-models.co.uk/jokes/2728-three-pieces-string.html

**Sometimes I suspect that I'm not unique in wondering whether people are so used to hearing music through their hi-fi systems that they no longer know what a real instrument sounds like. I have half a feeling that modern pianos of brands starting with the letters Y, S or B are liked by people because they think they  sound like what a piano should sound like based upon what they hear through their speakers. You might enjoy http://www.youtube.com/watch?v=Q9vbJxPhN3Y in contrast
#428
Hi!

It's often difficult to explain the effects of unequal temperaments to people who haven't experienced them and sometimes often who simply have heard that unequal temperaments have "bad" keys. In fact no keys are bad - they are just different. Composers exploited those differences.

I have done a video with another approach to explaining the differences between the keys in terms of resonances or harmonic accordance:
http://www.youtube.com/watch?v=Pz0B0SwKpww

I hope it's useful and look forward to further ideas or comments . . .

Best wishes

David P
#429
Hi!

In the barn I have a gem of a classic speaker that I'm not using at the moment and would be happier being useful to someone. It's the classic and highly desirable Altec Lansing Voice of the Theatre design as copied meticulously and made by the reputed PA speaker firm TOA in Japan.

http://www.audioworld.com/stat/pr/0305/28.altec.lansing.legacy.a7.loudspeaker.shtml

I don't want as much as $4000 for it! . . . but an appropriate donation would be helpful.

It's similar to


It has classic jack plug inputs to a built in 30Watt amplifier - on account of the extreme efficiency of the units, quite enough to fill a substantial space. It's not my favourite speaker but it is extremely good and is certainly good enough for outside or in large spaces. They were and are legendary speakers for a reason . . . !

http://mixonline.com/TECnology-Hall-of-Fame/altec-lansing-speakers-090106/ gives more information

One review:
QuoteWeaknesses:
None that I know of - but jealous people would argue that the horns are harsh or that they are not very good overall speakers.

Ignore haters - they only want to get their hands on a pair. If you can find a pair at ANY price - get them!

These speakers hold their own and no current speaker or vintage speaker can out perform these at ANY price!

Just one of these speakers would do better than pairs or multiples of others . . .

If any one is interested, please PM or phone me 01342 850594

Best wishes

David P
#430
Hi!

Here are some samples from a disc comparing the organs of
St Maximin
St Remy de Provence
Albi and
Lucon

The recording is exceptionally good and the CDs are very much worthwhile buying - "Les Organistes Postclassiques Parisiens 1740-1860" Beavarlet-Charpentier Lasceux G-F Couperin and Benoist played by Nicolas Gorenstein.

Below are extracts demonstrating

The Grand Jeu http://www.organmatters.co.uk/grand-jeu.wma
Hautbois and Flute http://www.organmatters.co.uk/hautboisflute.wma
Cromorne sur les fonds http://www.organmatters.co.uk/cromorne2.wma
Cromorne http://www.organmatters.co.uk/cromorne.wma
and
the Voix Humaine http://www.organmatters.co.uk/voixhumaine.wma

I'm wondering if anyone with the St Maximin sampleset on Hauptwerk might be able to demonstrate how near the Hauptwerk version of this instrument is to the real thing as recorded so well here?

It is of course absurd not to be able to discuss such matters on the Hauptwerk forum.

Best wishes

David P
#431
Hi!

The other evening I was listening to a disc of the organ at St Maximin. Philippe Bardon always says how special the acoustic is there, and says that reverberation is ruined by a cruxiform format to a building and or a dome.

At the end of a large chord, it's apparent that one hears the wall of sound hitting one end of the building and then the other, bouncing back between the ends, but when I heard it the other evening it almost sounded as though the pitch changed minutely as the sound passed in each direction.

http://www.organmatters.co.uk/reverb.wma

Is that perception an illusion or a reality?

Best wishes

David P
#432
Organ courses / Organ masterclasses throughout Europe
October 14, 2010, 09:40:35 PM
Hi!

http://www.france-orgue.fr/disque/index.php?zpg=dsq.stg is interesting

2011 includes Holland, Sweden (The Organ Culture of Great Britain), and Spain - romantic organ music led by Daniel Roth . . .

Worth keeping an eye on! Such courses can really open one's eyes to new music and wider traditions.

Best wishes

David P
#433
Atheists' Corner / EXCOMMUNICATION
October 14, 2010, 08:53:12 PM
Hi!

In http://www.organmatters.co.uk/index.php?topic=189.0 and also the thread about religious fundamentalism, hopefully the man-imposed arguments between Catholicism, Protestantism and Islam are seen to be about the man-erected edifications of respective bureaucracies rather than in any way relating to the worship of God.

It was the preception of these absurdities that caused people like Sir Isaac Newton and Sir Christopher Wren to be Freemasons, St Paul's Lodge being the first lodge to be founded in London. Count Zinzendorf is a character to research. Freemasonry was the only available route to freedom of thought at the time, and by reason of its secret nature, offered protection and immunity from the scourges of cries of heresy and resulting punishments abounding at the time. It is said that History is a Foreign Country, and entering 17th century England is a very strange place.

Even incontinence was seen as a sign of a crime against God and so resulted in Excommunication.

Excommunication is a process that runs through all primitive societies and especially where an individual points out uncomfortable truths that go against the commonly held fashions of beliefs upon fragile foundations.

The more fragile the foundation, the more rigidly the excommunicative systems are enforced.

To send someone to Coventry has found itself in the 20th century vocabulary and teenagers practice exclusion on the basis of "They're not one of us", and it's an oppressive process intended to bully people to come into line.

It was seen to be rather a stupid punishment when both Galileo's and Copernicus' observations about the Earth and astronomy were found to be and seen to be correct, contrary to the fashionable doctrines of the day.

A late 20th century sect practices a process of "disconnection" when friends or family members are seen to have negative characteristics in terms of sympathy towards the sect. The Nicean Gospels carry the same flavour in splitting families in exhortation of the superior duties towards God.

The tome by Christopher Hill "Society and Puritanism in Pre-Revolutionary England" sets the scene in the Chapter "The Rusty Sword of the Church":
http://books.google.co.uk/books?id=vSRHjfvg3OQC&lpg=PP1&ots=9vaKnULiyQ&dq=Society%20and%20Puritanism%20in%20Pre-Revolutionary%20England&pg=PA304#v=onepage&q&f=false
and it makes fascinating reading.

Thank goodness we live in the 21st century in which freedoms of speech and incontinence are permitted.

Best wishes

David P


(Hey -  ;) Mackie HR824MKII speakers are the best thing since sliced bread for the full scale presentation of computer software generated organ music)
#434
Hi!

http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=130442432712

A nice two manual pipe organ, probably another at the mercy of yet another residential conversion. Just why can't people build keeping their organ into their schemes?

Best wishes

David P
#435
Hi!

I have noticed that computer organ simulation users are still enthusing over Mackie HR824MK and similar speakers as though there are no alternatives for Organ reproduction. For the avoidance of doubt, this post applies specifically to organ reproduction only and the circumstance of the desire to create an absolute reality of the sound of an organ pipe and collections of organ pipes. Those are very specialised criteria which do not take away from the generality ofthe overall excellence of reproduction that people enjoy in the course of using such speakers.

I was willing to stake my reputation on the fact that two way speakers, especially the modern incarnations with active crossovers are not best matched to pipe organ reproduction and do not give the computer organ simulation signal the best medium to shine through.

"Proof! Proof! Proof!" - the Hauptwerk forum asked and rotten tomatos were thrown at me.

Yesterday afternoon an organist turned up to practice, as they often do, and as he played I crawled around the instrument to check everything was operating as it should.

What I have been saying on the forums was absolutely confirmed: the Diapason and in fact a Posaune had been playing through a two way speaker. It had sounded plastic. (On the computer organ simulation forum I mentioned that this occured on some stops and not others, and bad eggs were hurled at me.) I replaced this two way speaker with a dual concentric two way speaker. It still sounded plastic. I rediscovered yesterday that I had resorted to putting that speaker onto a sub-woofer filter and used a different type of speaker for everything above tenor C . . . and those stops are now alive.

One only has to look at
or
to see that whatever the brand of speaker, Behringer, Genlec or whatever, speakers that have a disposition that looks like this simply cannot adequately and realistically reproduce the organ range and continuum of freqencies. Just visualise the pipework and the size of the pipes, of course directly relating to physical requirements of sound and imagine which pipes are coming out of which speaker and which parts of which pipes are coming out of each speaker.

Speakers like this are designed for instance to shine for singer and percussive bass, melody and accompaniment - or one might even argue listening to modern electronic music on radio 1, percussive accompaniment with low tones and percussion treble, and a melody that doesn't matter if it's only somewhere in the middle.

Over 99% of all music sales are non-classical, so any comments that one sees written about such speakers in relation to classical music will be in the tiniest minority.

Proof? http://www.dogsonacid.com/showthread.php?threadid=570199 .
See the comment of "The Inspector" -
- "they are just not critical enough" but particularly also the comments of "Feeding Cone"
- "sound like most of the speakers in the world"
- "I thought that the upper mid-range was a bit iffy"

Of course Diapasons need absolute clarity in the upper-midrange. They don't have a complex structure of dissonant harmonics and so their output might look like the graph of the 8767 054 Hammond registration on
http://www.stefanv.com/electronics/hammond_drawbar_science.html

The upper midrange is critical to the relationship of harmonics in the sound.  If the peak near 2kHz is disrupted by coming out of the two units at once, then the sound won't sound as real as other solutions offer.

Incidentally, that graph is demonstrative of the use of technology in replacing the use of thought . . . because by definition, the Hammond is incapable of producing those frequencies as shown by the graph. Rather than a bell-like peak, the graph should show a spike at 440Hz and its harmonics. Why? The Hammond is incapable of producing 439Hz and 441Hz nor any frequency in the one note between 440Hz and 880Hz. Having said that, the Fast Fourier Transform that produces such graphs examine a set of frequencies within a spectrum of time, that time being limited and thereby leading to the infill of frequencies  we see in the graph. But perhaps that may also relate to the way in which our ears perceive sound? Bearing in mind that our continuity of vision is fooled at the point of 12-15 frames per second, time limitations within our mental processing will give rise to perceptions in the frequency domain are not directly apparent.

Why bother to urge people to use speakers better designed for organs?

If we are to encourage enthusiasm in organs, whether pipe or electronic simulations, the result must be captivating. That will only occur with instruments that are nothing short of aurally top rate. Second best is not good enough. (By this I don't imply expense - expense and suitability do not always equate)

One would think that computer organ simulation users might desire the direction of organ excellence rather than in any way a brand worship.

If one is not allowed to put pointers along the way that suggest that other solutions give better excellence without being suspended from the forum, the forum and the product associated with it becomes only a must-have fashion accessory instead of serving a quest for perfection.

Best wishes

David P

POSTSCRIPT: http://greygum.net/sbench/sbench102/caps.html is interesting on distortions introduced into systems by capacitors
#436
Organ Builders / Don't be conned by the Fraudsters
October 11, 2010, 05:18:57 AM
Hi!

The following email received this evening bears hallmarks of
http://www.antespam.co.uk/419/

Although these emails have been common for a decade, people are still getting caught out . . . The following email is so ridiculous I hope everyone will simply find it amusing!

Best wishes

David P

QuoteHello Sir/Madam,

   My Name is  Rev David crane, i like to place an order for pipe organ, i will like you to get back to me with types and sizes that you in stock  or have available now and  price range, or can you email me with your website, i will be waiting for your reply, also let me know the type of payment you do accept?master card  or visa card.please add your name and contact details
REGARDS..............David
#437
Hi!

A little while ago I was called in to see what I could do for an instrument under immediate threat:
http://www.npor.org.uk/cgi-bin/Rsearch.cgi?Fn=Rsearch&rec_index=A00257

A last concert was played by a brilliant organist, Mark Cyphus, and I recorded and "YouTubed" the concert and thanks to an enthusiastic organist and builder Paul Derrett, it was taken to a church in South Wales,
http://www.npor.org.uk/cgi-bin/Rsearch.cgi?Fn=Rsearch&rec_index=K00892
where I hope to hear of its inaugural recital in due course.

A comment this morning on
http://www.youtube.com/watch?v=ngpKoX9hzWs
demonstrates just why everyone's contributions to this forum are SO important:

Quotewhat??

why would anyone spend money nowadays for something like this?

I hope that people will demonstrate the answer to that with even more vigour.

Best wishes

David P
#438
Organ concerts / JEREMY FILSELL 7th November 4pm
October 10, 2010, 04:41:45 PM
CONCERT BY JEREMY FILSELL 2010
at Hammerwood Park
East Grinstead Sussex

Jeremy Filsell is Artist in Residence and Organist at the National Cathedral in Washington DC http://www.nationalcathedral.org . On a brief visit to England, he is performing a small clutch of concerts http://www.organrecitals.com/1/recitals.php?organist=jerfil (but Hove date is 6th, not as shown) on interesting organs and although complaining that he needs arms like an octopus to play the instrument, he likes playing at Hammerwood because the audience can see him and what he is doing.

David BRIGGS (b. 1962) Homage à Marcel Dupré: Prelude & Fugue in D major
J.S. BACH (1685-1750) from Clavierübung III:

       
  • Allein Gott in der Hoh sei Ehr BWV 675
    Allein Gott in der Hoh sei Ehr BWV 676

Pamela DECKER (b. 1958) La Pantera (2009)
David BRIGGS Homage à Marcel Dupré: Prelude & Fugue in F minor
Alfred HOLLINS (1865-1942) Concert Overture in C minor (1899)
J.S. BACH from Clavierübung III:

       
  • Christus unser Herr, zum Jordan kam BWV 684
    Christus unser Herr, zum Jordan kam BWV 685

Sergei RACHMANINOV (1873-1942) Vocalise Op. 34 no.1 (transcribed Nigel Potts)
David BRIGGS Homage à Marcel Dupré: Prelude & Fugue in E major

Jeremy writes: You'll love David B's Preludes & Fugues (think early Dupre but with tongue-in-cheek ...). Pamela's Panther piece is really crazy/wild and Rach and Hollins are always fun bon-bons. And then Bach is Bach (complete soul-food).

This concert is likely to be packed so please ring 01342 850594 in early course to reserve places

Specification of organ on
http://www.organrecitals.com/s/hammerwood.html
#439
CONCERT BY HENRY ROCHE
at Hammerwood Park
East Grinstead Sussex

Moscheles was a pupil and friend of Beethoven and a teacher of Mendelssohn. Henry Roche, recently retired as Director of Music of the Royal Ballet, is Moscheles' great great grandson . . . so music clearly runs in the genes. 

He is performing a luscious programme including two works by Moscheles on a piano tuned in the spirit of 18th and 19th century unequal temperament, a "well temperament" such as that which Bach would have been writing for.

Impromptu in F minor, op.142 / D939 no.1..............................Schubert
2 Preludes from op.28 (no.15 in Db, no,19 in Eb)..................Chopin
Etude in Bb minor. op.104 no.4................................................Mendelssohn
Four Concert Studies op.111....................................................Moscheles
                *        *       *       *        *       *
2 Etudes (op.70 no.11 in Bb minor, op.95 n.7 in G)................Moscheles
L'Amabile (Etude in Eb, 1840)..................................................Sterndale Bennett
Au bord d'une Source................................................................Liszt
Lento from Suite in d minor (1891)...........................................Rachmaninov
Handel in the Strand...................................................................Grainger

Please phone 01342 850594 to reserve seats.
#440
Hi!

I was very amused to find the following page on "Timbre Creating Compound Stops" in one of the authoritative texts of the 1920s or 30s . . . who's name will not be unfamiliar to lovers of the Cinema Organ . . .

"Of dual stops so composed we are able to give existing examples which have been skillfully devised and constructed by a noted expert. . . . That they have so long been neglected is far from being creditable to those who have claimed to have the tonal development of the Organ at heart. Expense may be urged as an excuse; but it is hardly a valid one in this day of monster Organs, comprising between two and three hundred speaking stops. "


One hopes that Hope Jones can be named now with impunity?

Best wishes

David P