Yes. It was just now that I noticed that ALL the divisions are enclosed (Except the antiphonale in the chancel.) So I'm wondering why it's not as loud as when the regular organist plays it, even on full organ. You dunce, open the shutters. Speaking of which, I'm not used to the action of the swell/great/choir pedals. I'm used to barker levers and trackers, and counterbalanced pedals that you need to put your force on to move.
Notes;
1) The en chamades are Gourgeous! That Festival Trumpet! It so compliments the resonance (2+ seconds. Three before they padded some of the pews.)
2) I think I'm overusing the Soubasse 32'
3) Why does the lowest C have to cipher constantly?
4) There are no 8' flutes on any divisions except the harmonic flutes, flute coeleste, and the flute a cheminee. (Not used to any of these, so I can't build my own chorus.)
5) The Oboe is a bit weak.
6) I'm afraid to use the 16'Pousaune or the 32' Tromba. Wow, talk about LOUD. They literally make the windows in the loft shake.
7) There's no swell to pedal 4'?
8) I'm getting used to pistons. 4 is good for quiet solos (Think this) Don't use nine or ten, since they are organo pleno with the dreaded Pousaune and Tromba. 6 is good to start off a postlude, 1-3 for communion meditations.
9) I totally nailed my improvs on St.Anne. Start off with the french Trumpet in the antiphonal, then the en chamade Festival underpinned by pedals.
10) Time to start Chant improvisations. You know, like the master, Daniel Roth, or Durufle.
You have to admit: That fugue on the Kyrie is unbeleivable.
I don't think I'll dare to call myself a liturgical organist untill I can master improvisation. Yes, I know that you have to go to an expensive music school for six years, make a trip to France, work at a large parish or cathedral and generally have loads of resources untill you can improvise like this, but I want to be able to do it.
No comments:
Post a Comment