Paul Carr
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Posts posted by Paul Carr
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We'll be there, looking forward to it.
(My wife always looks after the umbrella - I don't have one!
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Anybody know where I can get a copy of this, the last mvt of the Sinfonia Concertante, arranged for solo organ? Heard a couple or arrangements recently, including Virgil Fox's legendary Riverside performance, and can't rest til I've learned it. The chances of being offered a concerto at my time of life are rare and this is one piece which deserves to be heard more frequently!
PS - see
Wow!
He's loving every note of that!
And why play the final run with your hands when your feet can do it perfectly well??!!
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Paul which transcription is this? Jane is holding me to ransom of a sort unless I promise to put DM in my next recital - I see that you can get a book of transcriptions which includes the "first section" of Danse Macabre, but the only one I have is Liszt's piano transcription.
Thanks
Peter
It's the Lemare, published by Wayne Leupold Volume IX of the Complete Lemare.
It's not easy, Thomas Trotter plays it very, very cleanly - I confess to relying on a touch of acoustic camouflage, especially where there are rapid chromatic scales, etc. For that reason I've chickened out of playing it at Blenheim next April as the acoustic there is pretty much non-existent, it was in on the original programme drafts, but I'm playing a (little) safer. Cor, now we really are confessing all!
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I've been wondering for a while what the effect would be if one were to do this on one of those live projection screens at a recital. Presumably the musically trained would experience some kind of weird effect from watching an ascending scale while hearing a descending one?
That's exactly what happened for those sitting in the choir stalls behind the big screen used at David Briggs' opening recital at Emmanuel, Wylde Green a few years ago. And a few of them noticed too!
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The photo has obviously been flipped horizontally - it makes sense if you mentally flip it back. If this is not the case, I agree with you. Ostensibly it boasts manuals F to E 61 notes and pedals A to E 32 notes. Even so, I'm not buying one, not even for the purple sharps. Actually these may be ideally suited to blend in stylishly with a certain kind of player's performing attire....
Yes, it's been like that in The Organ Magazine for ages, at one time there were two photos of toasters with odd-looking low As on the pedal!
Easily done though - there's a geography text book at school that's had the same treatment resulting in Big Ben being at the wrong end of parliament.
All the stops are the wrong sides of a picture of the Notre Dame console in one of the Cochereau CDs, and again the manuals look wrong.
Either I have too much time on my hands or I'm drawn to noticing these things!!
P.
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Depends what you're after, if its the wow factor to stun the audience then:
-Guilmant arrangement of the 1st and the 8th Sonata
-Jongen
-Dupre
-Widor (its three movements from No.6)
-Eben (not as audience friendly!)
The Dupré G minor (Symphonie, I think) is probably heard more often than the E minor concerto. Certainly I've never managed to hear the E minor Concerto live, I'm unaware of it being performed in this country in recent years. A recording I have of it from Adelaide Town Hall (Walker), along side Guilmant 1 and the Poulenc, is stunning.
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I love it. Nothing snobby there!
Actually, bringing off an elaborate transcription is easily as hard work as 'the (official) big works', don't you find? Unless you have someone else doing all the stop changes, of course. [No names, no pack drill!]
Absolutely - I think they probably take more practice overall, certainly they often need longer at the performance instrument as the registration schemes can be very complex. It took me just over three hours to register Daphnis at St Chad's Cathedral last year, using a mixture of generals (allowing quick use of the stepper) divisionals and a couple of hand registration changes. The copy has still got about three packs of post-it stickers all over it!
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Wow! ...and you play all these, Paul?
Yep. Trying to keep up with you!
All have featured in a recital I've played at some time or other, although I'd need a bit of notice to wheel out the Briggs transcription of Ravel's Daphnis again, it's still almost unplayable in part even with plenty of practice.
P.
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You may be interested to learn that I quite often commence the Fugue in C minor (from the Prelude and Fugue, in C minor, BWV 546) on the G.O., with tutti Fonds 8 (and all the couplers).
Now I'm wishing I lived closer to Wimbourne!
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As the Trotter topic got rather hijacked, here's an opportunity to share what you play, and those in the previous thread who clearly don't approve don't have to read and contribute. As sometimes these things are hard to get hold of (as we don't always know whats out there), we could share publishers if we needed to...
Ok, here goes, sorry not all the transcribers are there...
March from "Egmont" - Beethoven/Carr
Marche au Supplice (Symphonie Fantastique) - Berlioz
Rákóczi March (from La Damnation de Faust) - Berlioz/Best
Fantasia on Carmen - Bizet
Pizzicato (from Sylvia) - Delibes
Fanfare pour précéder "La Péri" - Dukas
Hungarian Dance no.1 - Dvorak/Briggs
Prelude and Angel's Farewell from The Dream of Gerontius - Elgar
Pavane - Fauré
Carol (from Five Bagatelles) - Finzi
Forlana (from Five Bagatelles) - Finzi
Peer Gynt Suite no 1 - Greig
Alla Danza (Hornpipe) from The Water Music - Handel
And the Glory of the Lord (from Messiah) - Handel
Bouree, Minuet & Trio (Music for the Royal Fireworks) - Handel
Finale from Concerto no.5 - Handel
Hallelujah Chorus (Messiah) - Handel
Largo - Handel
Music for the Royal Fireworks: Bouree, Minuet & Trio, La Rejouissance - Handel
Organ Concerto no 10 in D minor (1st & 2nd movement) - Handel
Organ Concerto no 10 in D minor (2nd movement) - Handel
Organ Concerto no 4 in F (1st movement) - Handel
Overture to The Occasional Oratorio - Handel
Sinfonia to Solomon "The Arrival of the Queen of Sheba" - Handel
Two Marches: Judus Maccabaeus in G & Scipio in D - Handel
Jupiter (The Bringer of Jollity) from The Planets - Holst
Venus (The Bringer of Peace) from The Planets - Holst
Adagio in D flat (Consolations) - Liszt
Wedding March from A Midsummer Night's Dream – Mendelssohn (!!)
Coronation March "Le Prophète" - Meyerbeer
Bell Rondo - Morandi/Best
Gopak - Moussorgsky/Carr
Baba Yaga. The Hut on Fowl's Legs (from Pictures at an Exhibition) - Mussorgsky
The Great Gate of Kiev (from Pictures at an Exhibition) - Mussorgsky
Will o' the Wisp - Nevin
Canon in D - Pachelbel
March from "The Birds of Aristophanes" - Parry
March from "The Love of Three Oranges" - Prokofiev/Guillou
Rondeau from Abdelazer - Purcell
Vocalise - Rachmaninoff/Carr
Daphnis et Chloé - Ravel/Briggs
Rigaudon from Le tombeau de Couperin - Ravel/Carr
Flight of the Bumble Bee - Rimsky-Korsakov
Overture to The Thieving Magpie – Rossini/Heywood
Overture to William Tell - Rossini
Danse Macabre - Saint-Saëns
The Swan - Saint-Saëns
Finale from The Organ Symphony - Saint-Saëns/Briggs
Gymnopédie I - Satie
Ave Maria - Schubert
March Militaire - Schubert
Träumerei - Schumann / Guilmant
Finlandia - Sibelius
Alla Marcia from Karelia-Suite - Sibelius
Intermezzo from Karelia-Suite - Sibelius
Minué from Concerto no. 6 - Soler
Radetzky March - Strauss
Die Fledermaus Overture - Strauss/Carr
The Lost Chord - Sullivan
Overture to Poet and Peasant - Suppé
La Danserie - Susato/Carr
The Nutcracker Suite - Tchaikovsky
Grand March (from "Aïda") - di
Grand March (from "Tannhäuser") - Wagner
Introduction to Act III "Lohengrin" - Wagner
Isolden's Liebestod from Tristan and Isolde - Wagner
Overture: "Die Meistersinger von Nürnberg" - Wagner
Ride of the Valkarie - Wagner
The Bridal Chorus – Wagner (!!)
Pilgrims Chorus - Wagner
The Skaters' Waltz - Waldteufel
Alla Marcia (from Music for Children) - Walton
Coronation March 1937; Crown Imperial - Walton
Coronation March 1953; Orb and Sceptre - Walton
Popular Song (from Façade) - Walton
Prologue (from A Wartime Sketchbook) - Walton
Spitfire Prelude (from The First of the Few) - Walton
Suite from 'Henry V' - Walton
I think that's about all...
P.
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Yep, I'll stand up and be counted and say that I play transcriptions (hopefully not odd transcriptions!) and see them as perfectly valid for inclusion in a recital.
Me too!
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Now on the Cathedral website:
So Ian's going to be "Organ Titulaire" not "Organist Titulaire"????
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Hello all,
our job here is slowly reaching completion, and the flues are almost fully done.
The tuba is going to be a bit of a challenge for German voicers who have never really encountered such a best and have no idea how it should end up sounding. A short excursion to the UK would seem to be the logical way forward.
If anyone has any good tips as to particularly good examples, especially of the heroically ringing (as opposed to the very closed, dark sounding) type, that Matthias Schuke and his crew could hear and see - it is important that they should be able to get their hands on them. please let me know. Contact details would be very helpful, especially of the organ builders caring for the instruments in question.
Thanks
Barry
I think Hereford Cathedral Tuba takes some beating, very bright. H&H look after it and will know it really well as they only had it back in their workshop a year or two ago, with the rest of the organ.
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The extremely fine Compton Tuba at Holy Trinity Hull could definitely be made available to your men (my wife is Director of Music). I think it's brighter (and nicer) than the example at Downside. There's another fine Tuba at Hully City Hall and yet another at Beverley Minster. All three instruments are within half an hour's trevelling time. Add a further 45 minutes and they could hear the one at Bridlington Priory too. Each one a glorious example.
The finest Tuba I know is at Blenheim Palace - IMHO it's a true shaft of gold! I don't know who looks after that now, it used to be Peter Wood of Harrogate. Maybe others would know.
Yes, Woods look after the organ at Blenheim, and if you would like an email for the organ curator there please PM me.
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Wow. That Buxtehude's just too beautiful. What an artist Castagnet is (his Dupré Symphonie-Passion recording is a favourite of mine).
I have him playing the Dupré Stations of the Cross and the Second Symphony (sorry too early to type the French and spell it correctly!) at the West end of Notre Dame, recorded two years ago which is really fabulous... I play it in the car quite a lot and get some interesting looks at traffic lights if they coincide with the chamades kicking in!
I think YC is an amazing player in every respect. His improvisations at Vespers (on the Choir Organ) on Saturday evening at ND are always so beautiful...
Which organ is the Passion Symphony recorded on?
P.
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You are welcome!
Incidentally, I have just added a direct link to the organ of Nôtre-Dame d'Auteuil to my post above.
Even if you do not get to play at Nôtre-Dame de Paris, it is worth trying to gain an invite to go up to the tribune for one or more of the Sunday morning Messes.
And if you use the calendar on the ND site http://www.notredamedeparis.fr you can find out which titulaire is on duty for the weekend that you're there... Also the Sunday recitalists and visiting choirs are listed. It's a big site to navigate around, but well worth it. The mp3 of Yves playing BUxtehude on the Choir organ is very interesting too, I think that's tucked away on the organs info page.
P
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I have not yet been asked for the Toccata from the Suite (Op. 5) by Duruflé...
I have!
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We might have...
Are you going to share it?
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And Cesar Franck* borrowed part of Jesus Christ, Superstar by Sir Andrew Lloyd Webber. This sort of thing happens, sometimes unintentionally.
[*End of Panis Angelicus]
The one that gets me is the Graham Kendrick 'Worship Song' that quotes from There once was an Ugly Duckling.
Once you spot this, there's no hope of keeping a straight face.
And the hymn tune Guiting Power's first phrase is surely "Bob the Builder"...
This is SO off topic, unless of course Miss Buxtehude did look like Bob! (The builder)
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I'd just like to put in a word for the B flat Elegy which I think is a wonderful piece. It is so tuneful and easy to listen to that is all too easy to dismiss it as Classic F M music, but if it is played musically without hamming it up, it has real soul and dignity. I have included it in programmes where the rest of the music has been pretty uncompromising, and it has held its place with pride.
A real jewel, IMHO.
M
Absolutely... on 17th August 2008 it will sit happily in the middle of a programme for the 4.30pm Sunday Recital at Notre Dame de Paris.
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Three spring straight to mind from these shores:
David Briggs
David Bednall (Someone to keep an eye on for the future, brilliant)
Paul Spicer (Although he's probably better known as a conductor than an organist.) His Kiwi Fireworks and his Suite for Organ are very fine, in my opinion.
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Brand new code which was required at our vicar's induction service last night:
10-66 “You’ll have to keep playing – we’ve lost the Lord Mayor”
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This is most interesting..... the 'official' history is that the weekly recitals were transferred to St Philip's Cathedral when the Town Hall closed. They've certainly been at St Philip's for a good number of years (including the entire period that work has been carried out on the organ). How long were they at St Paul's? (The Town Hall closed in July 1996).
Our booklet for Trotter's new Town Hall recording is at the printers as I write - we want it to be accurate, but it could well be too late to change it, but we'll try if we get the correct information...! Please PM if you prefer.
Gary Cole
Regent Records
info@regentrecords.com
01902 424377
Thomas was only at St Paul's during the Town Hall Organ rebuild of 1982 and then again for the spring term in 1993 (or 1994?) while something was being done to the Town Hall roof. I don't think that the roof work happened in the end, but as the publicity had already been done the recitals did move to St Paul's. I know that for sure as I was at the Conservatoire then and went to them! This was all of course before Nic's rebuilt St Phillip's Cathedral Organ, so when it came to the Town Hall's closure in 1996 St Phillip's seemed more obvious as it's closer to the TH and the organ was newly rebuilt whereas St Paul's organ by this time was showing signs of age and is now due to be the subject of a major rebuild... more of that later though!
Hope that clears that up.
I play St Paul's weekly and do miss a third manual, for accompaniment and repertoire although I manage to practise on a 2 man Wyvern at home - but that's mainly note learning. For fun I go up the road to the three manual I play my monthly recital series on!
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I wonder if anyone can make any suggestions about what I should do with the metronome I have at home. It seems a friendly, unassuming little thing and, once the key has been wound and a tempo set, it seems quite happy to tick away at a regular pulse. However, problems start the moment I begin to play the organ along with it. The thing keeps changing speed! Some bars it gets faster, other bars slower, and it rarely keeps in time with me. As soon as I stop playing, in order for me to reprimand it for not keeping a steady tempo, it returns to a regular tempo straight away! It's quite happy to continue this little game all day long. Other organists have complained to me that their metronomes malfunction similarly, but those belonging to other musicians seem to behave rather better. Does anyone else here have any experience of wayward metronomes, and why they seem only to misbehave for organists???
I blame it all on vibrations!
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Why Bother?
in General discussion
Posted
QUOTE(mrbouffant @ Nov 22 2007, 06:10 PM)
Preach it, brother! I have had Bach Trio Sonatas leave me with a mild groin strain. I think there are more enjoyable ways to achieve the same effect!!
Playing the Dupré G minor Prelude (& Fugue)?????