ABSTRACT
Three ‘Tudor’ organs based on early sixteenth-century archaeological and archival evidence have been built by Goetze and Gwynn (2001, 2002, 2010). They have enabled players, singers and scholars to investigate through practice the alternatim performance of the pre-Reformation liturgical organ repertory in alternation with sung chant, faburden and polyphony in liturgy, workshops and recordings. This chapter considers some of the issues and outcomes of these explorations, in particular the implications of singing with an organ sounding in F, as well as some of the challenges in preparing a modern performance edition for players and singers to use.
