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Malcolm Kemp

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About Malcolm Kemp

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    Advanced Member

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  • Gender
    Male
  • Location
    Brighton, East sussex
  • Interests
    Organ teaching and performing, choral conductor and voice coach.
  1. Richard Popplewell RIP

    Social media reports the death of Richard Popplewell a couple of days ago. Many of us were grateful recipients of his teaching, friendship and wise counsel. RIP Malcolm
  2. Recitals

    Organ Recital by Malcolm Kemp Monday 2nd November, 1pm St Saviour's church, South Street, Eastbourne Retiring Collection - coffee and biscuits available afterwards. Programme Franck - Chorale No. 3 in A minor Purcell - Voluntarty in Dminor for Double Organ J S Bach - Prelude and Fugue in B minor Howells - Rhapsody in Dflat Reger - Melodia in Bflat Vierne - Final from Symphony No 1.
  3. Churches closing in Eastbourne

    Paul Collins, the director of music at St Saviour's, is the best person to tell you about the Hunter in St Andrew's URC. I don't think he's on this forum but you can contact him via St Saviour's.
  4. St Paul's Cathedral videos

    The best and most enduring video yet to be produced by St Paul's (and they're all pretty good) is that of The Revd Richard Coles talking about his recently published autobiography in conversation with Canon Mark Oakley.
  5. Llandaff Cathedral

    Three things you should never, ever do with blogs: (a) write them ( read them © attach any credence to them. Malcolm
  6. Elgar Organ Sonata

    A couple of weeks ago I played the first movement of the Sonata in a recital. I first learnt it many decades ago with Dougie Hawridge who was in his elemet with this genre, and I've kept it in the repertoire on and off ever since. Preparing for this recital I carefully studied the Christopher Kent edition in the organ volume of the complete Elgar edition and found the more detailed markings very helpful and interesting, giving me a new perspective on the work. I also studied a YouTube recording of the Arthur Jacob orchestration which I found somewhat disappointing although it was an old and poor quality recording. The Elgar started the recital and it finished with the first movement of Widor 6. I discovered that both pieces are transformed if you observe all the phrasing, staccato etc., markings meticulously and practise doing so very slowly and meticulously. The result was that, for me and, I hope, the audience, both pieces came so much more alive than they often sound. Malcolm
  7. Recitals

    St Saviour's Church, South Street, Eastbourne. Monday 3rd November at 1pm Retiring Collection and light refreshments. Malcolm Kemp (organ) Elgar First movement, Allegro Maestoso, from Sonata No 1 in G major Howells Master Tallis's Testament Mozart Fantasia in F minor and major (KV 594) Reger Benedictus in Dflat Langlais Cantilene from Suite Breve Widor First movement, Allegro, from Symphony No 6.
  8. Elgar Organ Sonata

    I found this rather interesting performance on YouTube a couple of days ago: https://www.youtube.com/watch?v=oYi6BeLBXSQ Malcolm
  9. Elgar Organ Sonata

    Not only is the Lancelot performance extremely fine; he also demonstrates how to get round some of the musical and technical problems that the work presents. Worth having even for that even if the performance hadn't been utterly first rate (which it is!) Malcolm
  10. Elgar Organ Sonata

    Thanks, Mr Wolsey, you've helped me decide that it's worthwhile to pay out all this money to the Elgar Foundation. You may have seen the discussion on this topic on my Facebook timeline. I think it's a worthwhile financial sacrifice to make in the interests of the integrity of authentic musical performance! A lot has changed regarding this sort of thing since I first learnt it with Douglas Hawkridge so many years ago even though i remember him playing it so well at Sussex Gardens. Malcolm
  11. Elgar Organ Sonata

    It's such a pity that the Christopher Kent edition of the Sonata (which has been described to me with varying levels of approval) has - according to learned and academically aware organist friends - only ever been available in the volume of complete organ works in the Novello Complete Elgar Edition. One might hope that one day it might appear published as a performance score on it's own. Something over £80 for the whole volume is a little steep for a Senior Citizen! Malcolm
  12. Thomas Trotter DVD from Ludlow

    The Ludlow DVD is superb. I ordered in on-line and it was at my house within 21 hours. Excellent. Malcolm
  13. Baroque Tempo

    Not only is ridiculously fast tempi a problem in Baroque music; some Anglican church music - and especially Psalms - is now performed significantly faster than it was fifty years ago. Perhaps the problem with the Baroque tempi is like so much with life these days; everyone's in such a hurry all the time. I'm sure I've read somewhere (perhaps in the writing of Peter Williams, I'm not sure) that Bach was very aware of the speed of the average human heartbeat. Surely that gives us some indication of what he was thinking? Malcolm
  14. Baroque Tempo

    Colin - Your comment about Bach gradually changing his playing as he aged/matured brought Dupré instantly to my mind. Some of his best known recordings - not necessarily his best technically - were made when he was getting quite old. Malcolm
  15. Baroque Tempo

    I likewise agree that Baroque tempi these days seem to be far too fast. If you do the Bach Motets too fast they simply become a blurred jumble. John Mander singles out Harnoncourt as a culprit; I find nearly all Harnoncourt's tempi excessively fast, particularly so in Mozart Mass recordings. Ultimately we don't know for sure what Bach and his contemporaries did and we need to make educated guesses/judgments information available. There is a similar problem, particular to organists, with the term legato. There are those who try to say that Bach played with the kind of absolute legato we would associate, perhaps with Franck or a Field Nocturne and there are those who try to play Bach with a totally detached staccato. I don't subscribe to either of these theories. I suspect that the nearest one could get to describing what is wanted is an "articulated legato" - neither a Romantic type legato nor staccato. Surely ultimately, whether considering tempi or touch in playing Baroque music, the ear has to be the ultimate judge, taking into account the size and acoustics of the space it's being performed in and the number of people in the room. I have several DVDs of Barenboim giving both piano and orchestra conducting masterclasses; he constantly advises that the tempo is the LAST thing you need to decide upon after having taken everything else into consideration first. Malcolm
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