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Date: | Mon, 20 Apr 2009 10:42:52 +0100 |
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>>Jonathan wrote:
>>Owen describes a process as follows:
>> What I discovered worked to my immense pleasure was to engage the buff
>> on its 8', but to leave the other 8' engaged (or even add the 4' if I
>> wanted to)
>If I'm reading Owen correctly, then I recently 'discovered' this sonority
by accident, in the midst of a concert. ..
>MP3: www.lesgraces.com/audio/dieupart3.mp3
>OGG: www.lesgraces.com/audio/dieupart3.ogg
>Kevin Fryer refers to this stop as the "Oooooh!" stop, since, when one puts
it on in a concert, some audience member inevitably goes . . .
Hi Jonathan,
In some instruments (not in the treble of yours but a bit in the bass) the
combination 8+buffed8 sound very much like a fortepiano. I have used it for
Haydn sometimes, and the audience was indeed surprised!
Btw., I like very much your "strong inégales" all the time: very lively!
[Too many people still find them too "mechanical and distracting".
Yet, if we follow ancient treatises and bird organs, it is precisely what
this type of piece asks for.]
Kind regards,
Claudio
http://harps.braybaroque.ie/
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