Paul Carr

I feel it appropriate to point out that Ian absolutely practises what he preaches - his Reubke at Gloucester a few years ago is still the very finest performance I've ever heard. I wasn't particularly fussed about the piece until that evening, and now I want to hear it again and again, but as it was that night; massively emotionally charged and utterly convincing in every way. Noone has yet quite managed that since, for me at least. When I'm listening to a performance I like to believe that the player is convinced that the piece he is playing is the best piece ever written, full understanding, as Ian explains far better than I could, is imperative. I also like to be convinced by the performer that playing the organ is the best thing in the world. (which, of course, it is! ) P.

Yes, Welcome! Glad to see that your board name is as intriguing and imaginative as mine! Interesting though - I thought, we presumed you were already lurking here! P

I absolutely agree.

What's he playing? (And please resist the temptation to answer 'the organ') Am I right in thinking it's only a fiver to get in too?

Mine too - especially the Deux Esquisses on the first CD

Ahh Ooopps! Let's state now, before total confusion sets in, Henry's Messiaen performances will be at the Great Hall, Birmingham University. Which, incidentally has had some work done on it - some releathering, re-wiring, etc. but including moving the console further back and, consequently, higher up. I doublt whether the player will hear it as well as from its former position, but haven't actually tried it myself.

You may be interested to hear that Henry Fairs is going to be performing the complete works of Messiaen on this instrument during 2008. More details at: http://www.henryfairs.com/forthcoming

I can't find the actual cost, but I'm sure I read somewhere that it was as much as a pipe organ would cost... This open letter to the organ community is interesting: http://www.trinitywallstreet.org/welcome/?article&id=891 and, like Lytham (to vaguely stay on topic) it has bell and whistles and other Cinema Organ gadgets, best used by Cameron Carpenter in William's 'Raiders of the Lost Ark' which opens the second half of his 2007 recital here: http://www.trinitywallstreet.org/calendar/...?event_id=40478 He plays the orchestral score complete, possibly giving reason for the extra stops' existence if you look how full the place is...

Me too!

Thanks Barry, Just caught up, having been away a few days. If a contract between organist an couple negotiated separately from the church, as Hector mentions, only deals with the fact you're going to turn up, play the organ and be videoed, or not...etc. would that fall foul of B90, presuming that the actual choice of music is mainly discussed between the Minister and the couple, with advice from the organist? Sorry that's not all that clear, but you should see where I'm coming from.

Ah ha! You know, I've never noticed that!! I play with the bench really close in anyway, so all I'd miss out on is tripping over the back of the pedal board which at home doesn't stick out behind the bench, but, on thinking about it, does at church!

Yes, I was pondering that one too... Could you explain a bit more please, Barry?

My pedalboard is 'standard' Well, whatever that means! It certainly isn't half size and transferring from it at home to the church I give regular recitals at, and to the Church I'm DoM at doesn't give me any grief at all...

I have the Wyvern Sonata model, two manual. I bought it nearly nine years ago, and at the time had to have the two manual for reasons of money and space. At the time Anthony Bogdan was the Northern Manager, he came with his box of tricks and fine tuned the stops as I wanted them. The touch is just right, not too light so that transferrring to mechanical actions is OK. He tightened the pedals a little as I thought they were too light... I use it most days, the wear on the pedalboard shows this, and, touch-wood, it has never let me down in any way. It's stood a house move too, and in both houses it lives upstairs, easy as the console furniture is not too bulky. I exclusively use headphones, originally because we had neighbours to consider, but now because I prefer the sound/experience. My wife says that I groan when I get to the difficult bits though! Our cat, Snoopie, sometimes tugs on the headphone wire from behind which is not the best experience mid-toccata! Although a three manual would be very nice, as a practice instrument it does the job. Also, if the home organ was too luxurious (number of manuals, pistons, stepper, solo reeds, etc, etc) then it would be a disappointment to go back to the churches I play at. I still do one session (hour-two hours) each week at the church, but that's now for fun and registration rather that learning the notes. There's a link to Wyvern's site (which I'm sure you've seen) and also a picture of me at mine, hard at work - if you scroll down. http://www.paulcarr.co.uk/page11.html Good luck!

Yes, that would be great - and it's already happening. The fabulous Schuke organ in the Lambertikirche in Münster has a USB drive. The next step would be to have a programme on your PC/laptop, a virtual console, so you could set your pistons up on the train on the way to the concert and then spend more time playing instead of setting, which always irritates me, especially when console time is limited.

...and me.

Yes, the 32 Reed is in a glass case, but the Open Woods are all at ground level, although they are opposite the vestry door, just where the choir line up for the pre and post service prayers... If you select just the 32 reed at Hereford and tap a note in the bottom octave the starter motor sounds just like someone slamming the South (St John) door, although I never managed to get the verger to actually run to the door! At the recent rebuild (year before last?) I believe the 32 reed was loudened. (again?) That's at least what I was told and later read somewhere but I couldn't really tell when i played it last year. Perhaps I've spent too long over the last few years listening to the incredible reed 32 at Notre Dame de Paris...

We were in Rome in February. The Organist at St Peter's - Jim (James Goettsche) is very approachable, lovely man who is quite happy to chat about the organ there, etc. and interesting things like that he was taught by Germani... The organ was a little disappointing to say the least, it's just such a massive building... you hear it over the PA system rather than in the flesh exept for those who are really near the case. It is used very little during the Mass compared to other places (Notre-Dame, Paris springs to mind!) and he told me he was using both North and South organs together - stereo! Shame they never built this: http://www.ondamar.demon.co.uk/schemes/props/rome.htm We didn't find any other organs, but many fantastic ice-cream shops - that's a different matter altogether!

Yes, and my copy of the album with Langlais' Fête in was probably the worst-bound book ever. It's amazing how hard the memory cells have to work when you realise, just a little too late, that the last page has not stayed attached enough to make it out of the briefcase! Another irritation, possible more irritating than the album full of pieces you'll probably never play, is when the album is full of pieces (except the one) you alreay have - twice. This is particularly true of Anthem Books - how many different anthem books with 'Lead me Lord' in does a church need?!?!

Not in order of preference - as they really all are the top five... Here goes: Improvisation on German and Polish Folktunes by Tomasz Nowak at Lambertikirche, Münster Stunning (CD: Polnische Orgel musik aus fünf jahrhunderten in St Lamberti, Münster. Musicom) http://www.st-lamberti.de Symphonie en Improvisation (22 June 2003) David Briggs at Blackburn Cathedral (CD: Sounds French. Lammas) Sortie grandes orgues (improvisation) Pierre Cochereau recorded ND Paris in 1976 (CD: Les Offices du Dimanche a Notre-Dame de Paris. Solstice) Handel/Guillou: Allegro from Organ Concerto in D minor, Op 7. Jean Guillou playing the Kleuker at Alpe d'Huez. (CD: Organ Encores. Dorian) Dupré: Le Chemin de la Croix. Yves Castagnet at Notre-Dame, Paris (CD: Yves Castagnet joue Marcel Dupré au grand orgue de Notre-Dame de Paris. Intrada) The last one has knocked John Scott's Dupré recordings from St Paul's down a notch, although I still play them a lot, especially as the first of the two recordings got me hooked on Dupré's music at quite an early age!

Slightly off topic: Alex Mason has got St David's Cathedral, replacing Tim Noon. See http://www.stdavidscathedral.org.uk/organ.htm#appointment (Hope that link works, never tried it before.)

Last year I followed Guiting Power, the last hymn, with a Sortie Improvisée on said hymn tune. About half way through I stopped hearing Guiting Power thundering out in octaves on the pedal and started hearing "Bob the Builder"... Same opening phrase! Another one to add to Eddie Marsh's Postman Pat/Te Deum.

Deep breath: I like the Bridgewater Hall Organ... Yes, it's not really powerful enough for the space it lives in, but the individual stops have character and beauty, each separate chorus is pleasing to the ear, and it works well registered 'horizontally' too (i.e. all the couplers, to build up getting all the flutes, all the principals, etc) which is a technique often employed there to try and give it more power. I've not played it, but would very much like to. (which I drop in to this just incase there's anyone with a contact/way in reading!) The bottom line is we really enjoy going to hear it 2 or 3 times a year, and would rather travel the 90 miles to that, than 16 miles to hear the Symphony Hall organ.

When I arrived at my current church there were several small but significant faults on the organ. The (larger) firm at the time hadn't, to my knowledge, made clear just how close to major work the organ was (is!), tuned it and then went home. The fact it doesn't hold its tuning accurately either adds to the fun. Of the faults, the annoying one was the bottom C and C sharp on the pedal Bourdon were off (a polyphone pipe). Two firms quoted four figure sums to get them/it playing again - which included doing re-leathering, etc that they said would be silly not to do at the same time. PCC then decided to do something more drastic (more later) so these quotes were not taken up... I lived for 2 years with no C or C sharp on the Little-Boom, then we changed tuner to a small firm (Ex HN& who had looked after the organ at my previous church... After his first tuning visit, the book said something like "Tuning, etc, ... and I've made C and C sharp work on the Bourdon again..." At the church, which I play regular monthly recitals at, a different tuner is slowly quoting for and overhauling parts of the organ as they become troublesome. The Open Metal has just been refurbished/releathered, etc. The recitals partly fund this, which is good as the PCC see the organ paying for its own keep to an extent. If a major rebuild was required all at once they'd definitely end up with a Grande Orgue Electronique!

Yes, David Saint and Henry Fairs recorded in July 1998 on SYRINX RECORDS (Leominster) S21798. It's excellent - David plays Bach: Fantasia in C (BWV 530) Trio Sonata 6 and Clérambault: Suite du deuxième ton - Henry gives a stunning performance of Duruflé: Suite and they both perform Langlais: Double Fantasie. It shows the organ off well - the instrument really is a gem, the best 'just 40 stops' I know. It probably wouldn't be the best vehicle for a Choral Evensong, but then it doesn't need to be! The scalings are quite big generally and it is very loud in the loft... It has just the right sound for Romantic French repertoire. David Briggs' transcription of Daphnis et Chloé 2nd Orchestral Suite sounds just amazing there. If you want to hear it live this year's recital series is: Mon 11th June 7.30pm Stuart Nicholson; Wed 20th June Douglas Hollick (Buxtehude tercentenary celebration) and David Saint playing Bach, Howells and Demessieux, etc. on Wed 27th June, 7.30pm.