Hello all

I have been debating lately the use of the full organ for different things. Firstly, I feel that whilst full organ can be very majestic and all that, it can also be over-powering and can turn people off if not used sensitively and appropriately. For example, using full organ for a voluntary for the sake of using full organ when musically it is not required can not only be a waste of time and effort but appear very un-pro.! Those are the conclusions I have come to anyway - but what are the opinions of others??

Obviously, the use of the tutti really does depend on the size of the organ and even more importantly the respective size of the building (or even the congregation) in which is is housed.

So where and when do you/would you use it? My view which seems to be largely held is that a fabulous voluntary, the Mendelssohn wedding march and perhaps final verses where appropriate is the time to use it. And of course any organ pieces which demand it! Any suggestions?

Cheers

I knew who would have started this thread before I read the name...

Depends how you define "full organ". If it is simply pulling out every knob, I'd hardly ever use it. If it's a diapason chorus with a mixture and a reed on top, but not every stop and coupler, it might be appropriate for last verses etc. I'd never play my voluntaries on full wack, especially at Scarthingwell, cos it's far too loud.

You did deafen me a trifle yesterday...

What can I say...

as a visitor I thought I'd see what she could do!!

But yes you highlight the fact that it is down to individual cases. Any more suggestions people?

I know what you mean about mixtures, they can be a tad disproportionate at the best of times, particularly on smaller organs! Anyone else!?

Well it is completely dependent on the instrument and the building. I use organo pleno when necessary, and when indeed it is called for specifically in a piece e.g. Reger's Introduktion und Passacaglia. However, the ear does tire and thus one hopes it is only used sparingly.

It is rare to use it in congregational singing, except for the biggest services e.g. end of 9 lessons and carols.

As for mixtures, I have three sets on mine and each is different. The West Great mixture is very piercing but sits well on top of the 8/4/2 diapason chorus. The West Swell mixture is more subtle and can be used alongside the 16/8/4 reeds for a good thumping last verse. The East Swell mixture is extremely keen and I save that for playing Bach!!

One church I used to play in had a congregation who disagreed with my tempo for Hymns... Full Organ though musically inapproprate for other reasons was normally enough of a "hint" for them to realise that I was not going to Change the speed, and if they wanted the hymns to last all year they wouldn't get it through me!

Normally I save full organ for final verses of suitable Hymns, and certain sections of voluntaries.

Jo