Malcolm Kemp

If you read the New Liturgical Movement website and one or two UK blogs of RC churches (notably one in Brighton) you will see that there are obvious signs of some parts of the Roman Church regretting having thrown baby out with the bath water and are trying to bring back, at least sometimes, decent liturgy and music. Interestingly it seem to be the young people - in some cases the very young - who are asking for such things every week. In May this year I played for the silver jubilee Mass of a local RC priest. It was a full Solemn High Mass, lace albs, humeral veil, maniples, Latin, Last Gospel, Vittoria Missa O Quam Gloriosum plus several motets. Admittedly, in the Brighton area us Anglicans do all that sort of thing rather better but, over the past 50 years we've had more practice at it and more freedom to do it! I think the tide is beginning to turn and some (but by no means all) RCs are beginning to try to recover their lost heritage. Some are even becoming aware of the need to maintain, restore and preserve their pipe organs. We must be grateful. Malcolm

How many Oxbridge organ scholar/music college students get systematic and regular tuition on the sonatas of people like Stanford, Elgar & Bairstow and the organ music of, say Howells, Darke, Parry, Jackson and Leighton? I ask this as a serious question and I honestly have no idea what the answer is likely to be; I just get the impression that students are so busy studying early and foreign music - justified and important though all that undoubtedly is. Is our own organ repertoire of the last 100 -125 years - our own national heritage - given sufficient time and priority by students and their tutors? Arguably ours is not the finest organ music ever written but do we ignore it at our peril? I'm not being provocative; just curious. Malcolm

Nigel, as ever, puts the situation so well. Do let us have the video links. I am reminded of when I asked someone a few months back whether I should spend over £50 on a book of approx 100 pages about registering the music of JSB. The reply was that I would be better off putting the £50 towards a trip to hear and play the organs that JSB played on and that this would tell me more than any book can. So far as reports of the standard of candidates for Oxbridge organ scholarships, one is reminded of the OT passage, so beautifully set by Michael Wise - "how are the mighty fallen." Malcolm

One of the morals of this tale - which I have possibly mentioned before - is that in the days when communication was almost entirely by post there was an inevitable cooling off period between sealing the envelope and putting it in the postbox. With computers, once you have pressed the send/enter button it has gone. Perhaps we are all sometimes too hasty to press that button; I certainly have been on occasions, although not necessarily on this forum. That said, I did read the original, unedited, posts but can't remember what the now deleted bits said. I'm sorry this has happened. I have had personal dealings with Paul and found him extremely friendly and helpful on more than one occasion. His advice on, for example, matters of technique and interpretation, freely given to us, was always very sound. I am sure Mr Mander would not have acted lightly in this matter and, as our very generous host, we must respect his views and his professional integrity. What saddens me is that recent postings in general seem to have been a bit lack-lustre and some of our well-known regular contributors seem either not to be contributing at all, or contributing very little at the moment. I'm sure it will improve again once the long, cold winter evenings set in! Malcolm

The old Plainchant Publications Committee (Liturgical Choir Books edited by Francis Burgess) used to do Sunday Compline (which in practice is hardly any different from weekday Compline, regardless of which version you use) in a modern notation version. Whether it is still available is another matter but try the RSCM first as they do still have a few of the Burgess publications in their catalogue. Even if it isn't in the current catalogue they might be able to produce some copies for you. It's worth a try. If that doesn't work I suggest you ring Richard Barnes at Cathedral Music (01243 379968) because he has an uncanny knack of being able to produce copies of almost anything from anywhere, however obscure, and he has an incredible knowledge of his subject. Tell him I said so because he already owes me a pint! Malcolm

Superb playing. But I am puzzled; either the minister is extremely big or Paul Jacobs is extremely small. The minister towers over PJ. What denomination is Crystal Cathedral? (I've nver heard of it before.) I notice that Paul Jacobs is very careful to avoid calling Messiaen a Catholic. Malcolm

See Appendix 15 of the most recent edition of the Westminster Hymnal, 183 of The Catholic Hymn Book (compiled/edited by Paddy Russill for the Brompton Oratory), 156 in Celebration Hymnal for everyone or 246 in Liturgical Hymns Old and New. Also, I know, in a number of other hymn books. It is generally described as "traditional" and certainly not by Widor. In Brighton it tends to be sung more in thr Anglican churches, but that is Brighton for you! Malcolm

I've just got home from Arundel Cathedral where Board member Nigel Allcoat has given a stunning recital At least two other members of this Board were present. Seldom have I heard Franck slow movements (A minor Chorale and the Cantabile) so beautifully and artistically controlled with sensible use of subtle rubato, but the improvsations on each verse of the Ave Maris Stella and on the four Anthems of Our Lady from Compline were absolutely out of this world. Each improvisation was preceded by the plainchant melody sung by a Schola of five excellent young singers, mainly from Lancing College. The standing ovation from the audience at the end was well deserved. Thanks Nigel, for a fantastic evening. Malcolm

It could help because a chord that can't be played with one hand sometimes can be played by the other. It depends how the chord is spaced and whether the thumb is at one end or the other. There are a number of pieces where even quite well known full-time organists swap the hands over and I think particularly of some of the Dupre Noel Variations. I have extremely small hands and I know from experience that in many - but not all - situations this does work. Malcolm

The churches of Brighton and Hove have proved pretty conclusively that congregations have given up on Sunday evening services regardless of whether they are choral, congregational or said. A few choral enthusiasts (mainly choir members - not organists or clergy) have tried to keep Evensongs going here and there but, by and large they fail. To the best of my knowledge there is not one Anglican church in either the Brighton or Hove deaneries (which, in themselves, have got into dreadful and inextricable messes as deaneries) which has Evensong with a choir every Sunday. Up to perhaps twenty years ago I was a great fan of Evensong, especially when Choral, but even I have grown to dislike it intensely for all sorts of reasons. One has to say that there are areas of Brighton that are not terribly pleasant to be in during the evening. One well-known church, very near the sea-front in the town centre and with a devout ecclectic congregation in a non-residential area, now only has sung evening Masses at Christmas, Maundy Thursday and Holy Saturday for this very reason. Sad, but people really do fear for their personal safety. Malcolm

John Barnard is (or has been) a secondary school master (deputy head, I think, at the John Lyon School in Harrow) and therefore writes tunes that teenage boys would willingly sing. You can always tell composers with this sort of experience because they always write memorable, singable tunes. Malcolm

O salutaris - Lalloux Hymn - Sweet Sacrament Divine Motet - Ave Verum (Byrd) Tantum Ergo - Henschel Adoremus in aeternam - Allegri Quiet, meditative closing voluntary Is there a better form of evening service than this? Malcolm

There are helpful hints in James Jordan's marvellous American books on choral directing (available from GIA Music) which I find works well with keyboard music as well. Forget about the notes and the keyboard and just concentrate of the rhythm. With one part of your body tap out the basic, big, "macro" beat and keep it absolutely steady - if necessary with a metronome, initially, then with another part of the body tap out the smaller "micro" beat and then with another part of thr body tap out the actual rhythm of the melody &c., in question. Do each individually at first, then in combinations of two at a time anth then all together. It is important, apparently, to do these rhythms to actual physical movement. Very much in the mould of the Inner Games books (which James Jordan often quotes). Get each rhythm - call them macro, micro and actual if you like - remembered by your brain and it will fall comfotably into place when you go to the keyboard and add the adde ddifficulty of the notes. Very much in tune with the idea of learning one thing at a time. I have tried it with students and it works. If any of you are really into choral directing and want some new ideas or really sound pedagogical advice I heartily recommend all the James Jordan books, DVDs and videos. Although you might sometimes have to pay customs duty the goods are dispatched to you from America extremely promptly. Malcolm

Of course, were we to go back to what I was brought up on - non-communicating High Mass at 11 am, done according to the English Missal (an English translation for Anglicans of the old Tridentine Roman Missal) the problems of the peace and the chalice would disappear. If you read the other blogs that I read - and sometimes contribute to - as a break from endless, serious organ practice here at home - you would see that a sizeable minority seem actually to want to go back to using the English Missal rather like a sizeable minority of RCs seem to want to go back to what they now call the Extraordinary Form. I am not convinced that it would please everyone but it would mean we could sing longer settings of the Sanctus and (especially) the Benedictus again!. I read somewhere the other day that Communion by intinction (dipping the wafer in the chalice) is just as dangerous as passing the chalice from person to person. Who, if anyone, can you reliably believe about what we should or shouldn't do and is it relevant to an organ discussion forum anyway? Malcolm

Per an edict from the Bishop, in Chichester diocese Communion is given in one Kind only - into the hands and not directly on to the tongue. The Peace remains as usual at this stage and Holy water stoups remain in use. I'm not convinced that we aren't going slightly OTT. Normally we are told that gold or silver chalices kill germs anyway and BBC news a couple of days ago suggested you need prolonged contact with someone to catch it from them. Who knows? Was there all this fuss with the similar situation in 1919? As an aside is anyone else finding this site incredibly slow for the past few days? I'm not having any problems with any other sites but this one seems to be getting slower and slower. Malcolm

Sounds a deadly sort of undertaking to me................ Malcolm

Recital by Malcolm Kemp on Saturday 1st August at 2.30 pm in St Mary's Church, Rock Gardens, Brighton. Admission free with tea and biscuits at half time. Music by JSB (Great C minor) John Stanley (arr. H Coleman), Handel, Bossi, Mendelssohn (Sonata 6) and Durufle (Fugue on Soissons bells) Malcolm

As has already been stated, most standard contracts between (Anglican) churches and organists/directos of msuic (call them what you will) include clauses that the resident organist shall be entitled play for all weddings (and funerals) in that church and receive the fee for the same. If the parties involved want to have someone else play, the resident organist is entitled to the full fee and satisfy himself that the visiting organist is suitable/capable for the task. I agree totally that it is so important to have a proper argeement in place. Currently there is one form of draft avaialble from the ISM and another from Messrs. Leech and Williams. In reality I think most organists are reasonable about this and the possibility of being paid for doing nothing is not one to be sneezed at. Of course it is polite for the visiting organist to speak in advance to the resident one and I think we should all expect that to happen. I have a rule that I always do weddings and funerals free for past and present choristers; everyone else has to pay. That way everyone knows where they are. Many years ago when I was organist of a twon centre "down town" church where the few residents in the parish were mainly Greek Orthodox the Vicar (himself a former organist) recognised the lack of wedding fees and increased the organist's salary accordingly. Malcolm

Thanks, Fiffaro. Actually, late last night I found it in volume 2 of the Novello complete works (part one of the Berlin-Krokow manuscripts) but I had missed it as, like your copy, it isn't given a title but merely has the opening direction "Allegro". However, it is definitely the piece I heard in Salisbury last week and I ordered the CD of John Scott playing it last evening also. Volume 2 of Jon Laukvik's "Historial Performance Practice in Organ Playing" is currently being translated into English (as was volume 1) by Michael and Bridgitte Harris but Carus do not yet have an issue date. Hopefully this will shed some more scholarly light on the subject. On another topic which I initiated some time ago there was discussion about performance practice in German music of this period and the current woeful lack of literature on the subject. Comments made by board members on that topic were most helpful and interesting. Members of this Board who are not members of the RCO may be unaware that on Saturday 21st November at St Giles Cripplegate the London Organ Forum (sponsored by the RCO) is having a one day seminar "Mendelssohn: playing with history" with talks by Katherine Pardee,, Vanessa Latarche and William Whitehead. Until January this year I was studying with William Whitehead and I know he has taken a lot of interest in, and done a lot of study of, this topic, especially articulation in playing Mendelssohn organ music. Malcolm

Could any member please tell me who publishes this piece (which, shamefully, I had never heard of, let alone heard, until a few days ago. It seems to have been recorded by John scott. I can't find it referred to in any of the currently available editions of the complete organ works of Mendelssohn. Are volumes 1 and 5 of the Novello complete edition worth getting? Thanks Malcolm

Absolutely superb performance of Master Tallis's Testament by Daniel Cook during a SCF concert at Salisbury this afternoon. I think this is one of Howells's best pieces and it was played today by one of our best young players. Malcolm

The other thing I meant to say was that potential audiences can be put off by recitalists of less than adequate standard. The organ seems to be the only instrument where it is not necessary for a player to be technically and musically at recital standard in order to give recitals. Of course there are currently very many very fine players around, some of whom have astounding techniques and musicanship. Equally there are lots of "recitalists" around who are sadly lacking both in technique and musicianship. If you have a choice of sitting in a cold, dirty church listening to the resident organist struggling technically and musically through the Reubke Sonata on an inadequate organ (this happens) or of sitting in your nice warm home listening to Graham Barber or Simon Preston playing it via your hi-fi stereo equipment I think I can tell which most people will prefer. Never underestimate the effect DVDs and CDs have had, rightly or wrongly, on the size of audiences at live concerts. Malcolm

One of the obstacles to overcome may be the fact that perhaps ordinary music loving members of the public may be have been to one recital and been put off going ever again by finding themselves part of a very tiny audience made up largely by the elderly, the insane and those who, had fate or genetics dealt them a different lot, would have been collecting serial numbers of railway trains rather than worrying about the percentage of tin and the wind pressure of the choir dulciana. I jest not; some of the most boring people I have ever met have been organ enthusiasts and most of them don't even seem to be reasonable players. We do need to appeal to a wider public but I'm not sure how we can achieve this, especially as a large number of organs are in buildings which by architecture or lack of upkeep and care are likely to make people going inside them lose the will to live anyway. Obviously there are many exceptions. Malcolm

Nigel's comments- erudite as ever -reminded me of three things which are relevant. Mention of the Gloucestershire countryside reminded me of how the words Laurie Lee uses in Cider with Rosie, and the way he uses them, enable the reader almost to smell the smells of the Gloucestershire countryside as one reads. Is it purely by chance that so many great English composers come from the general area of the Three Choirs' Festival? Performers need to evoke that atmosphere. At the moment I am studying the text books and DVDs of James Jordan, an American who teaches choral conducting at a very high level over there. I am greatly impressed by the thoroughness of his choral conducting pedagogy. Time and again he emphasises the importance of the conductor spending a lot of time preparing scores in detail and mentally hearing the exact sound he wants to evoke from his choir. Perhaps for choral conductor we could substitute organist playing pieces? It seems to me that young organists are very fond of playing Bach and his contemporaries, they are keen on playing Langlais/Messiaen and they play Vierne until the cows come home but they don't seem to get involved much with composers like Howells whose organ music requires a particular expertise in console and registration management to get the right tonal colours and balances. Because of this they lose out on an important aspect of organ playing and it is our responsibility as teachers to remedy the situation. Malcolm

Thank you. Malcolm