Quote from: Jonathan Lane on July 13, 2011, 10:16:27 PM
Dare we ask what size space the organ is in?
Jonathan
A good question. With a comparatively large amount of upperwork, hopefully not too small.
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Show posts MenuQuote from: Jonathan Lane on July 13, 2011, 10:16:27 PM
Dare we ask what size space the organ is in?
Jonathan
Quote from: revtonynewnham on July 13, 2011, 09:43:22 AM
Hi
Personally, I find the inevitable Gt to Pedal Pistons coupler of limited use - I don't always want the pedal to follow the gt registrations - especially when playing on another manual.
I supose it's down to playing style, and the type of music used - I do very little (if I'm honest, currently none!) liturgical or choral accompaniment - just leading hymns and playing voluntaries and the odd concert - plus the fact that I've never regularly played an organ with more than a handful of pistons - often just a couple of "composition pedals" - or no registration aids, so I tend to hand register a lot - even on instruments with a lot of pistons. If it's appropriate, I might set some generals up for the start of various items, and I'll use the pp-ff divisional settings to some extent, but I've never come to rely on pistons.
Every Blessing
Tony
Quote from: David Pinnegar on July 12, 2011, 11:40:55 PM
... As a comment in passing rather than in any way considering the schemes comprehensively off the cuff, I'm not quite sure of the value of a 16 Quintaton as the main 16ft base for the manuals as the 5th close to the 8ft is out of the 8ft harmonic series and will muddy it up. It all depends on how subtle it is, I suppose. . . but presumably it will provide a richesse. ...
Best wishes
David P
Quote from: Voix Cynique on July 12, 2011, 09:52:40 AM
I am assuming that we're talking here of an instrument designed for liturgical use, some impressive voluntaries and maybe some recitals. Shall we say 20 ranks? Here's my nearly-all-enclosed take:
Pedal
1 - Acoustic Bass 32' (unison from Great Bass, quint from Dulciana)
2 - Great Bass 16' (open wood pipes, large scale, high pressure)
3 - Dulciana 16' (from GO)
4 - Bourdon 16' (from Swell)
5 - Octave 8' (ext. Great Bass)
6 - Flute 8' (ext. Bourdon)
7 - Flute 4' (ext. Bourdon)
8 - Trombone 16' (ext. GO Posaune)
9 - Baryton 16' (from Swell)
10 - Posaune 8' (from GO)
Great
11 - Dulciana 16' (unenclosed)
12 - Open Diapason I 8' (leathered, high pressure)
13 - Open Diapason II 8' (unenclosed)
14 - Hohl Flute 8'
15 - Principal 4' (unenclosed)
16 - Octave Flute 4'
17 - Fifteenth 2' (unenclosed)
18 - Mixture IV (19.22.26.29) (unenclosed, to be installed when funds permit more ranks)
19 - Posaune 8' (enclosed in own box)
Swell
20 - Lieblich Bourdon 16'
21 - Viole d'Orchestre 8'
22 - Voix celeste 8'
23 - Lieblich Gedact 8' (independent of L.Bourdon)
24 - Lieblich Flute 4'
25 - Flautina 2'
26 - Baryton 16'
27 - Cornopean 8'
28 - Hautboy 8'
29 - Vox Humana 8'
30 - Clarinet 8'
Choir
31 - Dulciana 16'
32 - Viola 8'
33 - Celeste 8'
34 - Hohl Flute 8'
35 - Lieblich Flute 8'
36 - Unda Maris 8' (from 8ft flutes)
37 - Octave Flute 4'
38 - Lieblich Flute 4'
39 - Flautina 2'
40 - Baryton 16'
41 - Vox Humana 8'
42 - Hautboy 8'
43 - Clarinet 8'
44 - Posaune 8'
45 - Cornopean 8'
Solo
46 - Open Diapason 8' (from GO No1)
47 - Viole d'Orchestre 8' (from Swell)
48 - Hohl Flute 8' (from GO)
49 - Octave Flute 4' (from GO)
50 - Trombone 16' (from Pedal)
51 - Cornopean 8' (from Swell)
52 - Solo Posaune 8' (from Great Posaune)
53 - Clarinet 8' (from Swell)
The Unda Maris (a flute celeste) might be a cheat, but it ought to work, the two ranks beating slightly against each other - an idea nicked from PCND5584's post on the Mander forum of Jan 2 2006... The unenclosed Great diapason chorus would be along Lewis/Walcker lines, the rest more Norman & Beardish... and if you think that won't work, go and hear the 1902 N&B in Colchester's Moot Hall! Lewis was working for N&B at the time and so it's a lot brighter than you'd expect. Also, if you wish to quibble with the widespread use of pedal ranks on the manuals, or the placing of the Vox Humana on a separate manual (as at Saint-Brieuc) go and complain to Monsieur Cavaillé-Coll! ;) This one is admittedly borrowed from the Swell, but could be used thereby either as a solo stop or in alternatim with other Swell stops. The whole Choir is, actually, derived from other manuals, as per Mercklin practice, with the exception of the Clarinet (Belgian-style free-reed?). The Baryton stop is a sort of 16ft Vox Humana, used by Willis, C-C, Brindley & Foster and others - useful not only as a chorus reed but also for the full Wurlitzer effect!
So, a four-manual (sort of), 53-stop instrument, all from just twenty ranks, without any manual extension (except the Solo Trombone/Posaune)! I've modified the post several times and it's turned into a sort of Audsleyesque concept, albeit without a load of floating departments (though I suppose each manual department could be floating, so it could be assigned to any manual). I guess the next step would be to go down the Compton route and extend everything... or is that cheating?
I'm sure the high-pressure reeds and leathered diapasons will please PCND ;)
Quote from: NonPlayingAnorak on May 05, 2010, 12:57:53 AMQuote from: organforumadmin on April 17, 2010, 01:13:46 PM
Hi!
I'm wondering if one can design a really exciting organ with minimum spec?
Recit
Salicional
Voix Celeste
Principal
Cornet V - in seperately registerable ranks
Trompette
Bombarde
Grande Orgue
Montre 8
Principal 4
Bourdon 8
Flute 4
Fifteenth 2
Sifflot 1
En Chamade trumpet 8
Positif
Quintadina 8Flute 8Flute 4Tierce Piccolo 1Cromorne 8
Pedal
Bourdon
Bombarde from Recit
Oh dear - that comes to over 20 ranks . . . £500k ? One might enclose Recit and Positif . . .
Temperament - Kellner or D'Alembert?
Best wishes
Forum Admin
Simples... http://www.npor.org.uk/cgi-bin/Rsearch.cgi?Fn=Rsearch&rec_index=P00563
There simply never has been a 16-stop organ that versatile before. It does pretty much everything convincingly. Now, it just needs an acoustic to speak into...
Quote from: leaf on June 28, 2011, 08:10:40 PM
I would like to back up David's post on Charterhouse organ. It was installed about 80 years ago and is excellent for supporting a lively chapel congregation; not ideal I agree as a recital instrument. It was last renovated 30 years ago by Harrison and probably needs a fair bit of rebuilding with updated electronics; some extra ranks could be added without changing its character. But to say this instrument has outlived its life is just wrong. St Marys Redcliffe is 100 years old and has just been rebuilt and the Royal Festival Hall is belatedly in the middle of a complete rebuild. Is anyone suggesting that organs once played by Bach should be stripped out and dumped?