[What Makes A Great Performer? Scholarship, Technique Or Musicianship?]

Well, my short answer would be: proper preparation coupled with a willingness (and technical ability) to take risks. If one of these ingredients is missing, it rarely works!

 

However (and with apologies), here are somewhat less concise thoughts, in response both to this thread and the one that spawned it, '‘Historical Awareness – who needs it?’:

 

These are interesting questions. They should ideally be at the front of any performer’s mind every time they play. But the answers are not easy to find. In respect of pre-1800 music, I used to believe they were to be found in period fingering/pedalling, ‘correct’ articulation and registration, but of course that’s nonsense and I was just looking for something to hide behind; ‘authentic’ smoke and mirrors to justify my performance and add ‘integrity’. Unfortunately, it was an approach endorsed by a number of eminent British organ teachers when I was younger. ‘Expressive technique' was often used to describe a dry-as-dust approach to playing mechanical action instruments when I was at university in the late eighties, yet my experience of listening and trying to discover the closely guarded secrets of making music on neo-classical tracker organs left me cold – it was certainly far from expressive in the way I appreciated that word!

 

Incredibly, words like ‘elegant’ or ‘beautiful’ were never used by my teachers (in terms of goals or ideals!) until I studied with Naji Hakim in my early thirties. The ‘authentic’ approach to anything is anathema to him, even in his own music or that of his predecessor, Messiaen. Seated in the tribune of La Trinité, Hakim would occasionally look over his shoulder and then say in mock confidential tones “It does not matter; he is not here” whenever I asked him about ‘correct’ tempo or registration. Why? Because they were probably the wrong questions to ask. When I asked Maitre Hakim about rubato, of course there would be the initial subjective French approach, paraphrasing his teacher Langlais: “Has your heart ever been broken? You can play Franck then!”, but it would immediately be followed by practical advice: “You must decide OBJECTIVELY what you want to say and where in the phrase you want to say it….tenuto here at the top….accelerando here…rallentando there. Mark it in your score!” In other words ‘feeling’ must not be left to the day. Expression in music is as much a technical thing as good fingering and must be rehearsed. Obviously, it eventually sinks deep into the psyche and then informs your playing without having to grab your pencil every time you wish to ‘stretch’ a phrase, but it was a good approach and had a huge impact on everything I did, especially (bizarrely) conducting Anglican psalms! This was because it instilled a discipline of consideration during the preparation stage: composer's likely intention, fingering, posture, tempo, venue, acoustic, instrument, action, colours, audience, caffeine intake and so on; most importantly, expressive content.

 

Why do we think there are (at least) two schools of thought vis-à-vis the ‘authentic’ performance of César Franck, for example? Well, for a start, none less than the composer himself gave his blessing to quite different approaches to the same pieces of his. I honestly don’t think Bach or Krebs, or whoever wrote it, would give two hoots whether one ended BWV565 with a major or minor chord – he’d just be pleased that it was being played, and (I like to think) would be delighted that the full resources of a modern organ were being used in the service of his music, tempered by ever-indefinable ‘good taste’, of course.

 

I thought John Scott’s RAH Proms Buxtehude was superb, and I’m glad he didn’t shun thumb pistons and high pressure reeds here and there. However, microphone placing meant that his articulation (particularly the pairings) sounded far less subtle than they are, say, on his recordings from St Thomas Fifth Avenue, where he could obviously relax and not have to fight two conflicting aesthetics (not to mention electric action).

 

Most recently, playing a recital of largely Baroque music at Christ Church, Bristol (a gently romanticised 18th century organ tracker action) I played the final Ricercare from Bach’s Musical Offering. I had preceded it with some Brahms, and simply couldn’t help playing the Ricercare more ‘like Brahms’ in order to communicate what I felt the piece said on that organ. The result was shattering, for both me and the audience, and I believe, utterly convincing. Of course, the piece would have worked in our ‘received authentic’ detaché style, on organo pleno throughout (cutting 16’ pedal stops as appropriate, to make sense of textures/pitch etc), and I’m sure that’s how I’ll play it at Malmesbury Abbey on 22 Sept (quick plug: 7.30 pm kick off). I think the key to a ‘great performer’ is one who is utterly convinced of what s/he is doing and can communicate that with total conviction to the listener. Or, as Briggs says, paraphrasing Mozart, one who can make every performance sound like a great improvisation.

 

I have never had any truck with the uber-cautious ‘ooo-careful-now-that’s-a-bit-too-exciting’ brigade that sadly plagues the organ and Anglican choral world. One rarely finds it even in period instrument circles, for example, where no rhetorical gesture is considered too much!

 

Ultimately, we are playing the music of dead composers, having ourselves encountered Mahler, Schoenberg, Ives, Stockhausen or Mantovani (not to mention Miles Davis, The Beatles, Sex Pistols or Oasis), on organs blown by electricity, beneath electric light, from nicely printed scores, using prescription contact lenses, to a Mondeo-driving middle class audience, some of whom even enjoy nice snippets of Classic FM and Graham Kendrick on Sundays. You can’t ‘unhear’ such music or forget contemporary influences. There’s no such thing as an ‘authentic’ performance and I’m not sure whether such a thing would be particularly desirable anyway. As for what makes a ‘great’ performance, on one level, our job is to understand, and then to referee, often competing aesthetics, and make the best job of it. I agree with the earlier contributions that extol the virtues of what performance practice and analysis can teach us – indeed, we have a duty as musicians to learn as much as we can in the service of our art – but ultimately, if we don’t MOVE people, or at least make them actively LISTEN to what we’re saying, then there’s little point and the organ will continue to be regarded as a cold piece of Gothic machinery driven by megalomaniac train spotters with no people skills.

 

I absolutely adore Ton Koopman’s Bach, but am also profoundly moved by Horowitz (listen and weep

): respect is due to a musician of such transparent technique, modesty and life experience.

 

Ian Ball

 

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.

[Gloucester Cathedral]

Welcome, Ian!!!

 

(I am sure that you will know who I am....)

 

 

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

[John Scott's Prom]

What a shame it was the only organ prom this year - surely one dedicated recital each year isn't too much to ask

 

 

I absolutely agree.

[Recitals]

This seemed to die out pretty quickly but in the hopes of getting it going again:

 

Friday 7th September at 8pm

 

The Collegiate Church of St. Peter in Ruthin

 

4th Anniversary Recital given by Huw Williams (St. Paul's Cathedral).

 

And the church's own video screen WILL be in use!

 

specification and details of the organ at http://www.willis-organs.com/ruthin_general.html

 

David Wyld.

 

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?

[John Scott's Prom]

They are (there are two) very much favourites of mine, Alastair, and are frequently aired.

 

Mine too - especially the Deux Esquisses on the first CD

[P D Collins Organ At Turner Sims]

Help - for one moment I thought he was playing this in Southampton!! (Good job I checked where the original thread had gone - and Henry Fairs' website).

 

AJJ

 

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.

[P D Collins Organ At Turner Sims]

I do wish that this instrument was better known, as it has the potential to be a very good instrument indeed, especially with the acoustic provided.

 

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

[Lytham St Cuthberts]

Crumbs!

 

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...

[What's Your Toaster?]

I have a Wyvern Sonata - 'very happy with it.

 

AJJ

 

Me too!

[Covert Video Recordings Of Weddings]

Canon B20 gives the minister the absolute right over all the music. Any agreement between the couple and the organist could not override the Canon. Therefore any agreement that did not include the minister could (and probably would) be unenforceable, except insofar as it related to matters unconnected with Canon B20, such as subsequent copyright.

 

The same problem arises when PCCs attempt to appoint an organist/director of music, etc. They simply do not have the power, which is why no organist etc can be appointed in an interregnum. (It is possible, however, to have a limited contract with the PCC that expires on the appointment of the minister.)

 

I hasten to add that most of the cases arising under Canon B20 have not tested the law over these things. They have almost all been Employment Tribunal cases with preliminary issues over jurisdiction/status. (i.e. whether the organist is self-employed or employed.) Therefore all of this is merely untested opinion, though we can derive some guidance from similar situations in other jurisdictions.

 

It remains my view that a properly drafted agreement/contract with the minister, including the PCC as the paying party, can prevent almost all of these problems arising. Far too few organists have such contracts/agreements. As mentioned before, Robert Leach and I are not altogether happy that the standard formats make sufficient provision for all concerns in this modern age of technology.

 

Barry Williams

 

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.

[Digital Organ For Practice]

...sorry all, I meant that it's shorter from back to front (I've heard this called 'half size' by another manufacturer!!!) and possibly slightly narrower, but, no, otherwise r&c, 30 notes etc

 

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!

[Covert Video Recordings Of Weddings]

I am puzzled why Canon B20 should pose an obstacle to the establishment of distinct contracts with wedding couples.

 

Yes, I was pondering that one too...

 

Could you explain a bit more please, Barry?

[Digital Organ For Practice]

I was a little worried about the size of the pedalboard at first, which is half size, but it's fine and I have little problem transferring to the pipe organ for lessons -

 

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...

[Digital Organ For Practice]

I would say that you would go an awfully long way to beat a Wyvern Koralia - three manuals and at around £6500 it represents superb value for money. I had one and was so delighted with the results that I upgraded to a larger Wyvern Toccata III - which is just marvellous....

 

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!

[Wedding Problems?]

Given that more than a few of us, I would imagine, already carry around a small USB memory stick, it would be a small matter, I presume, to fit a USB socket into the combination system and then we could dispense with locking altogether. You always have your combinations with you, ready to plug into your own organ. The real advantage would come if there was some sort of combination standard, like GEDCOM for genealogy files, whereby plugging your combinations into a strange organ would render a first guess which could then be adjusted. I would imagine many of us have Clarinet on the highest numbered Choir piston, for example.

 

In case some of you have no idea what I'm talking about, a USB memory stick is about half the size of a disposable cigarette lighter and stores computer data, up to about 2-4000 times as much as could be stored on an old floppy disk. They cost about £20.

 

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.... We're Back!]

... including me!

 

...and me.

[Wooden Pipes And Voicing]

'Senior moment', or worries about.....

You know, I could be muddling up the two cathedrals/organs. The verger's offices are in similar positions. I realise that Ripon and Hereford are not exactly close together, but I'm leaping in to be embarassed now rather than later. I am 100% certain about the 32' boots and action on show at Hereford but as to the Double Open Wood....... Lord only knows!

 

[Looks like I won't have to wait too long for senility......

Thinks: maybeI'll mellow in my old age?

This could be useful.]

 

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...

[Rome Florence]

Just getting ready for a trip to Rome and Florence. Any suggestions (outside of the obvious ones) for churches or organs?

Any music sites of interest? Personal stories are what I’m looking for.

Thanks.

WM

 

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!

[Single Pieces Now Only Available In Albums]

'Yes, the Durufle Prelude was the classic example that came to mind as soon as I saw the title to this thread.'

 

Another one that comes to mind is Fete by Langlais. When I got it the only version was in a collection.

 

Jonathan

 

 

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?!?!

[The Five Organ Recordings You Couldn't Live Without.]

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!

[Stephen Cleobury]

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.)

[Guiting Power]

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.

[New Organs In Britain Since 1980]

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.

[Faults First]

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!

[40 Stop, 3 Manual Organ]

Is there a recording available? - I've heard such good things about the instrument but not actually ever heard it.

 

AJJ

 

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.