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Mander Organs

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  1. Today
  2. I've loved this piece for most of my life and this is a super interpretation, although it would sound even better in a more reverberant acoustic. Interestingly, Gardiner's interpretation is extremely similar to that on an old LP by Magdalen College, Oxford under Bernard Rose. The speed, dynamics and nuances of expression and the general air of devotion are all very similar indeed. Corvedale is lovely, though I prefer the anthem version with its continuous organ part.
  3. Yesterday
  4. In 1975, John Scott was the only organ scholar at St John's Cambridge when he had to conduct BBC Choral Evensong because George Guest was ill. He was 19. It wouldn't happen nowadays! (They brought Jonathan Rennert back from post-grad 'retirement' to play the organ.)
  5. I dodn't know Corvedale, I guess it's not in the NEH? Sounds alright on a first hearing but not inclined to lynch just yet! A Lenten evensong, unaccompanied (links are to youtube) ------------ Introit: Tomkins, Almighty God, the fountain of all wisdom (this recording is good but a bit slow!) Responses: plainsong, of course (can't seem to find a link, sorry, everyone know the plainsong responses, right) Psalms: 15th evening (sorry not very original) Canticles: Whitlock, Fauxburdens Anthem: Monteverdi, Adoramus te Christe --------------- No hymns (thank goodness), no voluntaries, no faffing about, just Evensong - the best thing about Lent.
  6. Yes, I agree with this approach both for the console label and what the public should be told on the website or in printed programmes. Of course, it potentially loses some prestige (although, regardless of what is being said here, I suspect for some people it will always be “the Father Willis”). But the same can be said of other originally FW organs around the country rebuilt by H&H, the first, I think, at Wells, then Gloucester among others. The H&H console label at Winchester lists everything from Henry Willis 1851/4 to the latest rebuild by H&H 1988 - including Hele’s additions of 1905, of which, (possibly to VH’s relief!) only 100 pipes remain in the present organ of about 5,500 pipes. I haven’t been up in the organ loft for very many years, but there were various plaques nearby recording details in the organ’s history, and I imagine that they are still there.
  7. I agree with Rowland that JPM was being very modest about their involvement at the RAH. Of course, there is some merit in keeping ancient console labels, but, I see no problem in a multi label that lists those who have been involved in the organ during its history. So, in the case, Henry Willis and Sons, Ltd 18xx, Harrison & Harrison, 19xx Mander Organs 19xx. Not sure if there is a Willis label anywhere at St Paul's - but surely the organ there is still described as a Willis of 1872 rebuilt by Mander in 1972-77, etc.
  8. Last week
  9. But how should the RAH organ be correctly described? Do the people at the RAH have a clear idea about what their website should say? Is the organ a Harrison, as John Mander seemed to suggest? (I thought he was being unnecessarily self-deprecating, as the Mander rebuild seemed to transform the instrument.) But isn't it a fact that the majority of the pipework is by Father Willis, albeit that the general opinion seems to be that H&H so transformed the instrument that it lost its essential Willis character. So, what do people think it should be called?
  10. 10/1 you just forgot about William Hill
  11. I know I'll be lynched for this, but please not Corvedale. Am I the only person in the cosmos that doesn't like it? Predictable tune, unadventurous harmonies, tedious boring rhythm. I'll get my coat.
  12. Rather late too... Voluntary: Elegy (Thalben Ball) Introit: O Quam Gloriosum (Victoria) Responses: Ayleward Office Hymn: There's a Wideness in God's Mercy (Coverdale) Psalm: 93 (Elgar) Canticles: Stanford in G Anthem: Expectans Expectavi (Wood) Hymn: Give me the wings of faith (San Rocco) Voluntary: Processional (Mathias)
  13. I contacted one of the RAH trustees and drew his attention to the inaccuracy as it appears on the RAH website.He put me in touch with a member of staff at the hall and she sent me aletter staing that the matter would be corrected..
  14. This is correct! I don't normally recommend Wikipedia but you can read about it here: https://en.wikipedia.org/wiki/Antidoron
  15. In the Orthodox and Eastern Catholic churches, this blessed bread is referred to as the Antidoron. Paul
  16. You are, indeed, correct. With a musical reference at the end, I quote these extracts on the subject from Francis Bumpus: ”The next excitement is the distribution of the pain bénit, handed round by a capped and gowned verger, followed by a rather sulky-looking chorister, forming a procession of two. We all take a small piece. Some, I observe, eat it at once, first crossing themselves with it; others place it on the chair-ledge in front of them to take home afterwards ... ... All this time a very grand Offertorium - Lemmens’ Marche Triomphale - is played upon the great organ ... “ Bumpus was in Chartres on Sunday August 6th, the Festival of Our Lord’s Transfiguration. Incidentally, he records just before the distribution having been charged dix centimes for the use of a prie-dieu.
  17. In addition to Robert Quinney's sabbatical, their Assistant Organist departed at the end of last term, so I'm not sure you can infer anything about their vision by this term's temporary arrangements.
  18. This was bread distributed to the congregation at Mass. I’m about to leave to attend a funeral, but I will check my source and respond later.
  19. More likely to be pain bénit than the Eucharistic Host: The little loaves or cakes of bread which received a special benediction and were then sent by bishops and priests to others, as gifts in sign of fraternal affection and ecclesiastical communion were also called eulogiae. Persons to whom the eulogia was refused were considered outside the communion of the faithful, and thus bishops sometimes sent it to an excommunicated person to indicate that the censure had been removed. Later, when the faithful no longer furnished the altar-bread, a custom arose of bringing bread to the church for the special purpose of having it blessed and distributed among those present as token of mutual love and union, and this custom still exists in the Western Church, especially in France. This blessed bread was called panis benedictus, panis lustratus, panis lustralis, and is now known in France as pain bénit. It differs from the eulogia mentioned above, because it is not a part of the oblation from which the particle to be consecrated in the Mass is selected, but rather is common bread which receives a special benediction. In many places it is the custom for each family in turn to present the bread on Sundays and feast days, while in other places only the wealthier families furnish it. Generally the bread is presented with some solemnity at the Offertory of the parochial Mass, and the priest blesses it before the Oblation of the Host and Chalice, but different customs exist in different dioceses. The prayer ordinarily used for the blessing is the first or second: benedictio panis printed in the Roman missal and ritual. The faithful were exhorted to partake of it in the church, but frequently it was carried home. http://www.newadvent.org/cathen/02749a.htm
  20. “Summer Holidays among the Glories of Northern France her Cathedrals and Churches”, London E T W Dennis & Sons Ltd, 1905; 243 pages and 110 photographic plates. There are some available from Amazon and eBay, and I suspect it would turn up in antiquarian bookshops. There are modern facsimiles, but I don’t know whether they include the photographs or, if they do, how well. As well as the Cathedrals and Churches, Bumpus paints a vivid picture of French rural life pre-WW I (I think, it’s mostly 19th Century). It’s certainly pre-motor age and, e.g., he travels by horse and carriage in Paris, and the photograph of the west front of Rouen Cathedral is almost a hay wain scene. The descriptions of services and participants are fascinating - an organ misbehaving badly, the priest-organist purple with embarrassment, while the Canons sit impassively ignoring it completely!; a “diaphanous” procession for a Guild Service at Chartres including “two or three hundred veiled girls”; being shown Thomas à Becket’s mitre at Pontigny; altar boys firing matches at each other; and many more such vignettes - all, I suspect, a very different picture from present-day France.
  21. To my knowledge the organ hasn't received any paint! And any work to be done on the organ would come from a different department from any work to be done in the cathedral. Perhaps the orgue de choeur is still there - but I couldn't see it - I shall ask, if I remember, on Sunday when I revisit. Your book sounds wonderful and I would love to read it! Choir boys distributing the 'bread' from baskets is outside of my experience and you are right, it is, now, totally forbidden to keep the sacred host for consumption at a later time. Bur 'Papa' appearing in Cassock and Surplice with a trombone to accompany a minor office is classic!!!
  22. Following the resignation of Martin Baker at Westminster Cathedral there is bound to be speculation and rumour as to what is to happen next. And so I give the 'Chapter & Verse' from the Diocese so that that speculation and rumour is kept to a minimum!!! From Archbishop's House: The Diocese of Westminster is undertaking a strategic review of the role of sacred music in the mission of Westminster Cathedral. In a statement issue this morning the Diocese states: The musical tradition of Westminster Cathedral, in its excellence, constitutes a crucial and powerful part of the mission of the Cathedral. The Choir of Westminster Cathedral is recognised as one of the finest in the world. Since its foundation in 1901 it has occupied a unique and enviable position at the forefront of English church music, famous both for its distinctive continental sound and its repertoire. The review will consider the steps needed to strengthen the role played by sacred music, as well as the structures and clarity of roles required for the continued development of the contribution of music to the mission of the Cathedral, within the network of relationships between the Cathedral, its Music Department and Westminster Cathedral Choir School. A panel has been appointed to undertake this review over the next eight to 10 weeks, which will be completed by early April 2020. Members of the panel bring experience, knowledge and deep interest in the role of Westminster Cathedral and its great musical tradition. Commenting on this announcement, Cardinal Nichols said: "In welcoming this strategic review of the role of sacred music in the mission of Westminster Cathedral, I thank most sincerely those who are going to conduct it. They do so with my full confidence. "Our musical heritage is precious and this strategic review is an opportunity to strengthen this heritage and look forward to the next ten years with confidence." In addition to consulting with a number of post holders and external experts members may wish to approach, the panel welcomes submissions from interested parties. These submissions should be made in writing by 17th February 2020, by email to strategicreview@rcdow.org.uk or by post to Strategic Review Panel, Vaughan House, 46 Francis Street, London SW1P 1QN. Full Details of the Strategic Review can be found here: https://www.indcatholicnews.com/news/38756 and: The Panel will receive written comments and submissions from any interested parties, until Monday 17th February 2020
  23. A very interesting picture. Has the organ also received some ‘paint’? Some of the pipes now look as though they may be gilt, but it could be a lighting effect. S_L will doubtless be able to say. I’m sure I have seen a photograph which includes the “coal-bunker” Orgue de Choeur as mentioned by pcnd5584, but can’t currently track it down. I possess a book on the cathedrals of France by T Francis Bumpus (1905) which contains a chapter “A Sunday in Chartres”. In somewhat flowery language he describes “The silver pipes of the great organ, by and by to pour forth its voice in the showy Interlude or Offertorium, gleam out from the sombre heights of the clerestory, where, as at Metz and Strasburg (sic), it is disposed with such grand effect”. Liturgists would be fascinated by his description of the Capitular High Mass, and such archaic (?) happenings as the host (Bumpus says “bread”) being distributed at Communion by choristers from baskets, some of the faithful taking it home to consume later (now totally forbidden, I believe), and afterwards, ‘Papa’ appearing in cassock and surplice bearing a trombone to accompany one of the minor services. (This evocative piece of history runs to 14 pages, so this is necessarily the briefest summary.)
  24. Just stumbled across this pic - it's the only one I've so far seen of the grand organ of Chartres since the paint-job, hope it's of interest:
  25. BuxWV 188 - Gelobet seist du, Jesu Christ It don’t look as if Buxtehude has many fans, at the mo. I fear I may be straying from the ‘prelude’ stipulation. Nonetheless, and moving boldly forward, this unprepossessing melody, in mainly stepwise steps, inspired Dietrich to compose this superb and lengthy Fantasia. I often find his music more ‘interesting’ than Johann Sebastian’s and there are many pieces of that description in his chorale preludes. This work contains two bars in the Pedal part worthy of, and as tricky as, some of the most difficult Dupré - remembering only ‘historically informed’ toes should be employed. These are from around 7m10s in [https://www.youtube.com/watch?v=cMde0Q9C2F8], where the score is viewable. Considerable bodily torsion is necessary to cover these two octaves in this short passage. I believe this gives a significant pointer towards ‘correct’ (i.e. quite free and loose) articulation in Baroque pedalling. It is also instructive to watch/listen to how ‘period’ ’cellists and bassists perform similar phrases. Another performance is on this fabulous organ in Gdańsk (not that the Schnitger isn’t rather good, too !): https://www.youtube.com/watch?v=8wo8EHVpAyw
  26. Exactly. I have recorded some of my favourite organ LPs on to minidisc for exactly that reason, but also for the convenience of being able to listen to them in bed (you can't easily play LPs in bed) - listening using headphones, of course, so as not to disturb Marge!
  27. Yes, varying buffer size is the next thing to try. Audacity, as well as the computer in general, both have to do lots of other things while trying to replay each audio sample at exactly the right time, such as updating the pretty graph display on the monitor. Even more intensive are things like reverb (which you mentioned). So you could also try switching off the reverb and see if the clicks go away. Also try switching off any other audio effects you might be using, such as EQ (tone control), externalisation (enhanced 3D effects), etc.
  28. Thank you very much for your response, Colin. I have the sample rate on 44.1kHz. I'm uploading to a very new MacBook Air. And yes, I now what you mean about the different sort of clicks and the relevancy of much of what is on-line. I am absolutely new to this and am not using the Tascam every day, so I have to renew my knowledge and skills each time I come to it. But... I think I read something akin to your suggestion about the upload speed. Could there be a setting in Audacity that I ought to be look at at? If I can find reference to what I think I read, I will come back to you. And here I am coming back... So, I read this... If you hear crackling while playing and recording at the same time, try increasing the "Audio to buffer" setting in Recording Preferences. On Mac you may need to reduce the Audio to buffer setting, even if only recording. Is this what I ought to be looking at, do you think?
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