Jump to content
Mander Organs

All Activity

This stream auto-updates     

  1. Past hour
  2. Yes. Unfortunately as the years go by, practicalities are being overtaken by bureaucracy!
  3. Today
  4. The new plan for the organ by Nicholson's at Radley College Chapel sounds impressive! http://www.nicholsonorgans.co.uk/pf/radley/
  5. Together with the, now abandoned ARCM. it makes some of us feel a little 'put out to grass!!!!
  6. The Improvisation on The First Nowell is also available, free, on IMSLP - and it looks well worth playing! http://petruccilibrary.ca/files/imglnks/caimg/e/e3/IMSLP533632-PMLP862971-Burton_First_Nowell.pdf
  7. There is a bit about Burton in the most recent booklet about music and organs at St Albans. A
  8. "...holding the position of music master at St Albans School, for which he composed the hymn tune to 'Alban, high in glory shining'. His 'Warwick School' was used in Public School Hymn Book with 'Onward, Christian soldiers'. His compositions include a Simple Communion Service in F (1959), a Magnificat and Nunc Dimittis in G Minor, and organ works." (From Humphreys & Evans' Dictionary of Composers for the Church in Great Britain and Ireland.) The Evening Service is available from Banks: https://www.banksmusicpublications.co.uk/mixed-voices/four-voice-parts/magnificat--nunc-dimittis-97
  9. Totally off topic but my late wife's father, who was a remarkable man, built a television for them to watch the Coronation! Wasn't it the Dean, it would have been Dr. Alan Don, who was concerned about the service being televised in case it was watched by men in pubs wearing their hats!!
  10. Isn't history wonderful! I was present when the 1953 coronation was broadcast live on television, which itself was a rare and expensive novelty what with sets retailing at around £80 at a time when the average working man brought home perhaps £7 per week gross. The new Sutton Coldfield transmitter had only brought single-channel BBC TV for the first time to the heaving unwashed north of Watford a few years earlier, and we were thus able to enjoy (?) it on a 405-line monochrome 9 inch screen in the largest room my extended family could find in one of their dwellings, so that as many friends and neighbours could squeeze in as possible. (Nerd alert - even though it was only a few years old, that TV tube was then showing signs of the central bluish ion burn which eventually rendered it useless. A common problem then before the days of ion trap technology. However an aunt remarked that it proved that "they were obviously experimenting with colour", bless her). It was actually great fun from my point of view because of the party atmosphere, though I must admit to having been bored stiff by the broadcast itself, except for some of the music and the sound of the organ emerging from that tiny loudspeaker which even then impressed itself on my juvenile mind. At junior school we had had the benefit of a special edition of the New Testament handed out to every pupil, as well as a 'Coronation Mug' of the sort which even today still spills off the shelves of the lesser antique shops. But I'm afraid I can't shed any light on whether Latin was used. What a philistine I must seem ...
  11. Agreed, these are minor, reversible changes. No cultural heritage is being irrevocably destroyed, no money is being irresponsibly wasted, no employment law s being breached, no-one's health and safety is being endangered, asset values are not being diminished, you are not compromising the building's accessibility. I don't see the harm in this instance.
  12. I agree entirely with Colin. But what really annoys me is the sound of a harpsichord jangling away in Bach's church music. It should surely always, always be the organ. (Lights blue touch paper and retires to a safe distance.) Ian
  13. Well yes, but... I know of several small (and possibly some larger...) organs where entirely reversible and non-damaging minor alterations have been carried out as, I'm sure, do many members. Some of these have even been done by quite large tuning companies, dare I say, under the heading of maintenance... I do take the point though that that is the correct route. As an off-topic addendum, the church which keeps the hotch-potch organ dry has a roof covered entirely with lead. A small patch over the nave developed a leak and the then rector when asked about going through all the correct channels to have some work done said something along the lines of, "Oh don't! It'll take months, can't Bert (not his real name, words voiced by an actor) from the village do it for the price of a pint or five?" He did. Pragmatism is still alive in the C of E!
  14. Actually only the Credo and the Sanctus! The Service music was as follows: Fanfare I Anthem ‘I was glad’ :C.H.H.Parry Fanfares II, III, IV, V Introit: Behold, O God our Defender*: Herbert Howells Gradual: Let my prayer come up * : William Harris The Creed (from G minor mass): Vaughan Williams Come, Holy Ghost: VIII Mode Melody: arr.Ernest Bullock Zadok the Priest: Handel Confortare *: George Dyson Rejoice in the Lord: John Redford O clap your hands together: Orlando Gibbons I will not leave you comfortless: William Byrd O Lord our Governour *: Healey Willan Thou wilt keep him in perfect peace: S.S.Wesley Homage fanfare VII founded on Scots tune ‘Montrose’ Hymn: All people that on earth do dwell: arr.Vaughan Williams Versicles & Responses, Sanctus: Vaughan Williams O taste and see *: Vaughan Williams Gloria in Excelsis: Charles Villiers Stanford Three-fold Amen: Orlando Gibbons Te Deum *: Walton Fanfare VIII and God save the Queen: arr.Gordon Jacob (fanfares I to VII composed by Sir Ernest Bullock) * these were First performances! In addition during the procession of the Regalia: Oh most merciful: Charles Wood Litany for 5 voices: Thomas Tallis Not a foreigner in sight!!! And I have a feeling that the music for the next Coronation will be a good deal more eclectic!!!
  15. What a pity... well, from the hood point of view! Thanks for the info, Wolsey.
  16. But that's a slightly special case, isn't it? I believe there was some consternation on the part of the King's Scholars when Parry incorporated their traditional acclamation into his anthem. Previously it had been shouted over whatever else was going on.
  17. I'm still trying to get a feel for how acceptable Latin would have been in the C of E at the beginning of the twentieth century. Was it even legal outside the Oxbridge universities? Since my original post I've read Timothy Day's excellent book I Saw Eternity the Other Night. I thought I remembered reading there something about Latin that hadn't sunk in properly, but I've just had a quick flip through without finding anything specific. I wouldn't mind betting that it was in the universities that the language first began to infiltrate the Anglican choral repertoire. One certain example is Edward Naylor's Vox dicentis, written for King's, Cambridge, in 1911. How unusual or not that was at the time I don't know. Early Music didn't figure very much there at that time. According to Day, Mann was a committed Romantic without much enthusiasm for Tudor music: Milner-White had to encourage him to include it in the services at King's. Whether any of it was in Latin the author doesn't say. Ord, on the other hand was different. He was keen to include as much sixteenth-century polyphony as possible in the repertoire, having been enthused by a quartet called The English Singers, who in the 1920s were singing lots of Fellowes's editions, including Latin motets. At King's, Ord introduced several Latin motets by Byrd and music by Palestrina, Victoria and Philips and of course Willcocks kept that flag flying. One of the messages in Day's book that comes across very clearly is how generally poor and resistant to improvement the standard of singing was in cathedral and collegiate choirs until Mann (and then Ord) forged the example to which other choirs felt they had to aspire. I would guess that it was Ord's tenureship from 1929 that prompted the more general acceptance of Latin in C of E choirs - but of course I'm making lots of assumptions and I know nothing of public school choirs c.1908.
  18. Yesterday
  19. Vivat Regina, Vivat Regina Elizabetha! sounds like Latin to me.
  20. I have no objection to Bach on a piano. He himself showed that the timbre of the instruments his music was played on was not necessarily the prime consideration. Of course, it's possible to play Bach very badly indeed on a piano - but then I've heard some pretty bad harpsichord playing as well. And further, when I was growing up many harpsichords were also very foreign to what Bach would have heard. As an illustration of how style and musicality are separate issues, I like to point people at an old Saga recording of Handel's Eight 'Great' Harpsichord Suites, played by Christopher Wood. The instrument is apparently a Dolmetsch, but sounds heavy and dull, and the playing is full of exaggerated contrasts, both of tone and speed - and yet, I enjoy it because it clearly demonstrates real enthusiasm for and enjoyment of the music. (Seven of the eight suites can be downloaded here, where the write-up is considerably politer than mine!)
  21. Towards the end of a thread on registration assistants a number of board members expressed interest in the recording of Anton Heiller's performance of Reger's Wachet auf. I added a comment at the end of the thread about the crowd funding effort to cover the cost of remastering and producing a CD but, judging by the lack of responses to my post, it was probably too far down an unrelated thread. In the meantime, the crowdfunding campaign has ended, close enough to the goal for the release of the CD to go ahead. More information can be found at a new site: https://anton-heiller.com/release/anton-heiller-edition/ which is in German. Google translate will probably do a good enough job for all to understand. The synopse is that the mastertapes of the recording session on the Marcussen organ in the cathedral in Linz are in good condition and have been obtained. Musical samples will be made available shortly. Like a number of other members wrote in the thread I mentioned above, I was blown away by the original Erato recording, subsequently re-released by the World Record Club. Nowadays, I only have an MP3 copy of the Fantasia, so I am very much looking forward to receiving the CD. As an aside, I believe that one of the registrants was Christa Rumsey, the English translator of Peter Planyavsky's biography of Heiller. David
  22. At the publisher's request, I have been revising my biography. I reached the following passage and remembering Martin Cooke's plea, I wondered if it might conjure similar memories for others. This was during my first year in secondary education, so I must have been thirteen at the time. I sometimes was allowed to make my own choice of hymns. I would switch off the blower when the good Canon began his sermon but, concentrate as I might, I usually lost the plot fairly early on, so my mind wandered off to things of more immediate and temporal interest; things like the AJS Porcupine and how much I should like to see Reg Armstrong on a camshaft Norton in the Senior TT. I had a pair of shoes which I had worn out, but with built-up heels they were fine for organ work. However, they were a bit on the tight side, so I would slip them off and return to my Boys' Own reverie and thoughts of the latest offerings from Gamages, the new Raleigh with drop handlebars and the latest balsa kit from Keilcraft. Perhaps I could build the three-valve "Skymaster" if I could persuade Gran to let me have the kit for my birthday. "And now . . . ." thunders out as the doughty cleric turns to the altar; it's my signal to return to the world spiritual. "To God the Father, God the Son and God the Holy Ghost . . . . ." Time to switch on Bob to the accompaniment of creaks and wheezes as things come to life - let's hope there won't be a cypher. ". . . .be ascribed as is most justly due . . ." Where's my left shoe? Panic! Can't have lost a shoe ". . . all might, majesty, dominion and power . . ." More panic - it's become jammed in the pedal board.. Leap off the bench to retrieve itinerant footwear and accidentally hit the bottom end of the 16 foot open wood. BOOOOM! Instant red face but the shoe remains fully wedged. ". . . henceforth and for ever more. Amen". "We shall now sing hymn number two hundred and ninety four." That's not what we agreed. What's 294? Quick shuffle through A&M. "Jerusalem"! Well, they're not getting Dr G T Ball with only one shoe. "Please Canon Williams, Sir, the hymn should be two hundred and three." "Ahem, correction; we shall sing hymn number two hundred and three." At last, the key lever gives up its prize and I can manage the pedal line without a limp.. Crisis averted. Happy days!
  23. Don't know about the Church of England not approving of Latin in 1908, but at the 1953 coronation there was none; even Vaughan Williams Mass in G minor was sung in an English version.
  24. Would permission from the Diocesan Organ Advisor, and a DAC Faculty, not be needed for any changes?
  25. As far as Cambridge is concerned, the MusB was suspended in 2011. A quick Google at Oxford University pages suggests that the BMus is no longer awarded there either.
  26. This follows on from my recent post about the Geoffrey Bush Carillon. Last night I sought out this album and although I have owned it since 1976, I have never done more than play the pieces through - in so far as I am able! The music is very largely by people we all know of - Thiman, Campbell, Jackson, Armstrong Gibbs... then there is the Geoffrey Bush piece which I am going to use this year. But the album opens with an Improvisation on The First Nowell by CPP Burton and I couldn't help wondering who he was. What a sad a tragic tale it is. So, he was Claud Peter Primrose Burton with what I have always rather regarded as the 'full works' in terms of cathedral organist qualifications - MA, BMus, FRCO (CHM) - St John's College, Oxford, in Burton's case. (I know a lot of people regard the Cambridge MusB hood as pretty unsurpassable, but the Oxford BMus hood - lilac with fur, is a stunner - and rareky seen these days.) ** From 1949 to 1957 he was Organist and Master of the Choristers at St Alban's Abbey, succeeding Meredith Davies who had been there for just two years. It turns out that he drowned in the act of rescuing a chorister who was in trouble in the swimming pool at Hemel Hampstead. The chorister survived, but it turned out that Burton was suffering from TB - (unbeknownst to him) - and his lungs collapsed as he dived into the pool resulting in him drowning. It seems he also wrote a Communion Setting in F - I think I've heard of Burton in F! - but I can't find anything else by him. I wonder if anyone plays the piece or, indeed, anything else from this album. But what a dreadful turn of events. (He was succeeded at St Albans by Peter Hurford.) ** What has happened to the Oxford and Cambridge BMus/MusB degree? My observations tell me that folk who stay on after their first degree these days seem to end up with MPhil, MSt, and MMus variously at O and C. Are the BMus degrees still awarded?
  27. Pleasing to hear that our armchair musings might be of some practical help! I don't know for sure of course, but I have a hunch that claribel might be too loud at 4ft? Suck it and see, I suppose. Good luck!
  28. I would choose harpsichord, clavichord or low-pressure pipe organ for Bach keyboard music and a circulating temperament for the “48”. The organ pieces would probably have been played on organs with less “modern” temperaments; Bach didn’t get his way with most organ builders, I think. But I don’t mind people playing Bach or Scarlatti or Byrd on the piano if that works for them. The music is glorious whatever. I really couldn’t care about the pitch standard though. Bach existed at a time of differing pitch standards and had to cope with up to three at the same time for some of his Cantatas, I think. The pitch of church organs would have changed by as much as a semitone from winter to summer.
  1. Load more activity
  • Create New...