[rodgersorgan] Re: Manual 16' Stops other than reeds.
- From: "Carlo Pietroniro" <organist@xxxxxxxxxxxx>
- To: <rodgersorgan@xxxxxxxxxxxxx>
- Date: Thu, 10 Apr 2003 00:12:24 -0400
Bourdon 16
Montre 16
..especially the later, are very important (a must) when playing the music of
César Franck. 99% of the French romantic composers (Vierne, Dupré, Duruflé,
Widor) call for 'foundations 16.8.4' in their compositions. I wouldn't suggest
using them when playing a hymn (with the hands in the usual position), since
the accompaniment will sound too thick, but in playing the music of the 4
composers I mentioned (and many others), they're a must.
When an organ has no 16' manual stops, most of us tend to use "swell to great
16", or the sub intra-manual couplers, which can be good, but that also brings
all the stops that are in play, down an octave, and that can be too much at
times.
Most organists don't know what to do with a 16' manuals stop, and when they DO
have them, they over-use them.
When you have a 16' speaking stop in play, be very careful about the couplers,
or you'll end up with a 32' pitch on the manuals. Most (if not all) the
Casavants here with 16' manual stops, include them in the 'tutti' (and
crescendo sequence), AND the sub-octave couplers as well! Poor organ design if
you ask me.
Carlo Pietroniro
Montreal, Quebec
*************
On the Frog Music Press Website - Playing MIDI Live at the Rodgers Organ &
Using the PR-300, two guides to mastering MIDI.
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