pcnd5584
-
Posts
5,297 -
Joined
-
Last visited
Posts posted by pcnd5584
-
-
That's a shame - sorry to read this; but thank you for letting us know, Vox.
-
On 23/03/2019 at 18:17, Barry Oakley said:
Bairstow was equally minded to express his disappointment after the Willis organ in Sheffield City Hall failed to come up to expectations after the completion of the hall.
Apparently, HWIII wasn't entirely enamoured of his own work in this instance, either. However, this was more because of the dreadful acoustic ambiance of this hall, which is utterly 'dead', and devoid of any resonance, or even 'bloom' whatsoever.
-
On 03/05/2019 at 20:09, David Pinnegar said:
.... 'On account of a fellow member
....'
On 03/05/2019 at 20:09, David Pinnegar said:.... 'On account of a fellow member
perhaps his conclusions explain exactly why Padgham and I and the other member might come to similar conclusions.' ....
QuoteI believe that the identity behind 'Deadsheepstew' was the late David Coram, who was certainly greatly interested in various types of unequal temperament tuning.
(I have no idea why the passage which I quoted has appeared twice. Neither am I able to remove the duplicate.)
-
On 10/07/2019 at 11:26, handsoff said:
.... 'Mind you, some careful filters for error-led profanities and mischievous asistants/choristers/ curates/ spouses and so on might be advisable.'
</realmoffantasymode> 🦄🦄
I think that in my case, it would be best to avoid such a device. During my twenty-six years as Minster Organist in Wimborne, I believe that the church had to be re-consecrated on at least three occasions, following an intemperate outburst from myself....
-
On 27/06/2019 at 09:10, Martin Cooke said:
Well, from the website, it looks as though "it's all happening." Not my scene in terms of church and music but it looks lively and busy which is more than can be said for many churches, unfortunately.
I wonder what fate will befall the HWIII instrument in this church? I note that this is an HTB plant: one thing I do know, is that at their 'home' church of Holy Trinity, Brompton, not only is the large pipe organ regularly maintained, but I understand that it has had recent work, in addition to regular maintenance. This does at least sound as if the instrument is still in regular use there.
-
On 06/08/2019 at 21:14, Rowland Wateridge said:
Like others here unable to go to hear Olivier Latry ‘live’ at the RAH, compensation came today in a wonderful recital by Philippe Lefebrve at Selby Abbey. I was not the only long-distance traveller there.
Philippe Lefebrve spoke very movingly about César Franck as the father of the modern French organ school before what I can only describe as a moving and reverential performance of the A minor Choral. Vierne, Dupré and Duruflé somehow gained a new dimension played on this thoroughly English organ. The improvisation on two themes from John Scott Whiteley defied my powers of description, but I think the two themes were interposed in a gradual crescendo to a toccata followed by a quiet fugal introduction to a second even more tremendous toccata - altogether twenty minutes. We were witnessing and hearing a great artist with absolute mastery of the instrument.
And far from being redundant while the Grand Orgue is unplayable, we were told that the Notre Dame organists would play for the Cathedral’s services being held in other churches - so, whilst not exactly ‘business as normal’, keeping the Notre Dame tradition alive.
This latter point is good to read.
I have had the privilege, on a number of occasions, of being in the tribune at Nötre-Dame de Paris for the three Sunday morning Masses. On two occasions, Léfébvre was on duty. His playing on both days was nothing short of stunning. All of the music was improvised, most effectively, in a variety of styles, and enhanced the liturgy in a most moving manner.
-
On 22/03/2019 at 09:16, Bruce Buchanan said:
In fact, Dr Thistlethwaite allocates 30 pages to Henry Willis. These are, in my opinion, the most useful, accurate and dispassionate 30 continuous pages ever written about HW, and they are superior in every respect to the 65 pages uncritically strung together in 1955 by W L Sumner from HWIII's notes. (pcnd's emhasis.)
This is an interesting point. Sumner made no secret of his admiration of the work of Willis, but I do find that hs un-stinting praise, and almost entire lack of any criticism, even of a constructive nature, to be bordering on sycophancy - and it is certainly un-helpful to anyone wishing to acquire a balanced view of the work of Willis - particularly that of HWIII.
-
On 19/10/2018 at 08:53, Rowland Wateridge said:
That seems very modest, almost self-deprecating, as most people think that Mander’s rebuild corrected shortcomings in the RAH organ resulting in a noticeably improved instrument. Was Arthur Harrison’s rebuild/ transformation so far-reaching (drastic?) as to justify expunging all reference to Father Willis on their builder’s name plate? Put another way, does re-voicing the original builder’s pipework entitle the new builder to instal a name plate which, to anyone who doesn’t know the instrument’s history, gives the impression that the organ is wholly theirs?
For the record - apparently, as originally built, FHW didn't put a builder's name-plate on his instrument in the Royal Albert Hall, either.* The same point was made at the time of Harrisons' drastic transformation in 1933. (At least, that was when the rebuild was finally completed.)
And, yes - tonally, according to well-known (and in several cases, highly influential) commentators at the time of Harrisons' rebuild, the organ, as it emerged, was un-recognisable. There are one or two illuminating articles in back-issues of The Organ (perhaps the most notable being by Gilbert Benham), which shed some light on the controversy prevalent at the time. However, it is in the Letters to the Editor section where it is possible to glean much interesting information - and to gain some idea of how high feelings ran with regard to the Harrison rebuild, in the musical establishment of that day.
* Presumably he felt that his work was well-known enough not to require a name-plate.
-
On 08/06/2019 at 23:16, DHM said:
Then your task was much easier than that of a former Oxbridge organ scholar.
The story may be apocryphal, but is alleged to be true. I have heard names and locations quoted.
DoM to Organ Scholar at pre-Evensong rehearsal: "We'll do Stanford in G in A flat today, please, Mr X." 🤣This sounds like Edward Higginbottom, late of New College, Oxford. Apparently, it was not unknown for him to 'request' that the outgoing voluntary was transposed, in addition to canticles, or an anthem.
-
On 06/12/2018 at 13:18, Peter Allison said:
I have a few of them, and was really pleased to see the one featuring the city of my birth, Durham Cathedral, and a close personal friend of the family, James Lancelot 😉
I particularly like the Durham edition. James Lancelot appears entirely at ease on-camera, and he clearly delights in giving what is one of the best 'sound tours' of an organ in the entire series.
One or two musical (but not familiar with organ construction) friends watched it, and found it to be both interesting and informative.
-
On 17/06/2019 at 12:28, Colin Pykett said:
'.... Funnily enough I had the issue near at hand as I'm considering compiling an index for the several decades' worth I have amassed. There's an awful lot of highly interesting and in some cases important information which is, unfortunately, very difficult to access even in those cases where one can recall (usually vaguely) that something or other was once written about a particular subject way back in the mists of time. ....'
Colin - if you do produce this (which, I realise, would be a somewhat monumental undertaking), I would be most interested in purchasing a copy. (One could hardly expect you to spend the time required for such a project without remuneration.) There have been many occasions when I know that I have seen a particular article, or review, but the idea of searching through thirty years' back-issues isn't that appealing, partly since many are stored in the loft of my house, and it is rather hot up there, at this time of year.
-
On 16/07/2019 at 15:23, DariusB said:
'...but as Liszt above almost all composers valued virtuosity and technical difficulty in performance, it's hard not to find his organ music a bit technically 'safe' compared to the piano music, and perhaps to conclude that bolder/ more frequent use of the pedals (like Straube in the Peters edition) is legitimate. ....'
I believe it is true to say that Liszt was no virtuoso as far as pedal technique was concerned. (Unlike his keyboard technique which, as can be deduced from his piano compositions, was technically demanding.) As you have implied, the pedal parts of his organ works are generally much easier than the clavier parts.
I haven't seen the Straube edition, so I cannot comment objectively; I must try to track this down, and have a look.
-
Does anyone know whether there is a link to a photograph of the new console loft at Canterbury Cathedral, please? I have tried an Internet search, but nothing useful has cropped-up, so far. It would be interesting to see what it looks like in the North Quire Aisle. The new console is certainly a handsome piece of work; and the walnut (?) is a refreshing change from the more usual oak.
-
Yes, indeed - the video links featuring the Canterbury Cathedral organ are very interesting. It sounds as if it is going to be an exciting and versatile instrument by the time that it is completed. Thank you for posting these links, Martin.
-
On 21/07/2019 at 18:32, DaveHarries said:
Although the console which was in use for the great organ at the time of the fire is now a write-off I thought this might be of interest. The clip dates from 2016 and shows the arrival of the console at ND when it was new.
HTIOI,
Dave
Is this definitely the case, though?
It is clear that the console is covered in the same dry dust-like substance which also covers most of the organ, but I think that I read somewhere that the electrical components were largely in good condition because they were contained in small boxes, or protected with some type of hard covering. If this is the case, the keys, draw-stops, pedals, etc, could perhaps be cleaned. Does anyone have any further information, please?
-
Martin - thank you for your kind words. I have the rest of the evening off, and suddenly remembered the Mander board, and my friends here. I am hoping to find the topic on the York Minster organ, and to read Robert Sharpe's rationale - so I shall now have a look at the other parts of this forum.
-
It has recently been decreed by the French Senate that Nôtre-Dame de Paris will be restored to the last known state prior to the conflagration. Personally, if this is carried out, I would regard it as something of a relief.
-
On 11/22/2017 at 23:44, David Drinkell said:
... On the subject of celestes, I (nearly) always find that a sharp celeste is a much nicer sound than a flat one. When the 1908 Walker at St. Leonard-at-the-Hythe, Colchester was ably restored by ex-Walker man Ken Canter in 1973, he tuned the celeste flat and I didn't like it. He said that Walker celestes were normally tuned flat, but sharpened it for me and the old effect returned. I still think it's one of the nicest celestes that I know. ...
I quite agree, David.
On our Walker instrument here at the Minster, we have a beautiful pair of mild strings in the Swell Organ, rather in the mould of the old 'Father' Willis Salicional and Vox Angelica. Our Vox Angelica was originally tuned flat (as a glance at the pipes will show). However, I don't like the effect either, and have never regretted asking our organ builder at the time to re-tune it sharp.
Neither have I regretted ousting the G.O. Dulciana (which was never used) for a gorgeous second-hand Viole de Gambe. Aside from the fact that this rank is infinitely more interesting tonally, it is of far greater use, both in service-work and recitals.
-
On 8/17/2017 at 15:04, Henry Willis said:
...In the case of the new Tubas (Contra Tuba16ft, Tuba 8ft, Clarion 4ft) which we made, voiced and supplied for the organ at Trondheim Cathedral three years ago, the Clarion has 11 flue trebles (from C#50 i.e. the last reed being c49 as Bruce says). The Tuba 8ft is Harmonic from F#19 and the Clarion is Harmonic from F#7.
I have never seen any Clarion that 'breaks back' an octave (rather than 'break' to flues) and fail to see the point really - if it simply doubles the 8ft at that point why bother? ...
Indeed. I have never seen this either.
I do know of colleagues who eschew a 4ft. Clarion. However, I find ours (we have three) invaluable, particularly that on the Swell Organ. This stop alone contributes greatly to the Full Swell, and is invaluable in French Symphonic music.
-
I would agree with Vox. The piston spacings for most of Harrisons' consoles from this era are both ergonomically pleasing and visually elegant. Two exceptions are the consoles at Westminster Abbey and Winchester Cathedral (although these fall outside of the time-scale), which have larger spacings between the divisional pistons, and are neither as convenient nor as visually pleasant.
Westminster Abbey:
Winchester Cathedral:
-
On 9/21/2017 at 07:52, S_L said:
...I was in Bridlington Priory last Friday during a rare visit to the UK. I hadn't been in there since the 1970's when Raymond Sunderland invited me to play. I also have, in not good condition, his Vista recording made in about 1972/3. ...
I believe that this may be the same L.P., a copy of which I also possess. Did it include an improvised March and Fugue, by Raymond Sunderland?
-
With reference to the organ of Canterbury Cathedral, the proposed stop-list looks to be quite comprehensive and largely sensible. I must admit that I am not particularly bothered by the presence of but one third-sounding rank. However, I am not convinced that the Choir Organ has been as well thought-out as the other divisions. It looks rather like a few other recent Harrison schemes. For one thing, given the presence of a Fifteenth in the Mixture III (15-19-22), it might have been useful to have used the separate Fifteenth slide for a Larigot or even an Octavin 1ft., as was formerly the case in the 1948 scheme. In fact, a re-creation of the 1948 Choir Organ might have been more versatile in any case. A second 8ft. Flute (more Romantic in character) might have been useful.
However, it does appear that the new scheme, if fully realised, is likely to prove even more versatile than the present scheme. I have no doubt that the Solo Organ will prove its worth in Psalm accompaniment in particular.
It is also good to see a second, quieter, 32ft. flue included. A 32ft. Double Open Wood, as useful as it may be in moments of grandeur (such as the last page or two of the first movement of the Elgar Sonata), is generally rather less useful in quieter registrations - particularly those of an ethereal nature.
I note that I was correct in my assumption of the intervals of the G.O. compound stops at C1, in my post of 4 October 2017. One will be the existing Willis Mixture (15-17-19-22), and the other will be a new quint Mixture, commencing (19-22-26-29). Again, this makes perfect sense, and will provide the best of both worlds.
David Drinkell made an interesting point regarding Hill's compound stops in an earlier post. I must admit that I have always preferred Hill's Mixtures to those of Willis. I would gladly suppress the third-sounding ranks without a second thought. I take his point regarding the inclusion of a Tierce rank in the bass (which generally dropped out after about eighteen notes, or more rarely, after the first octave). However, I believe that it was included to aid clarity in the bass (perhaps with the use of the clavier to Pedal coupler in mind), and that Hill preferred the majority of the compass to contain quint and unison ranks only.
-
On 3/11/2017 at 01:06, innate said:
It’s like the 1930s never went away. I’d prefer OD, Gamba, SD, Harmonic Flute, Gemshorn. Or even an undulant.
Of the two IV compounds on the Gt is one a Cornet or a high mixture?
With reference to the G.O. compound stops, one is almost certainly the 15-17-19-22 IV-rank Mixture retained from the Willis instrument, and the other is probably a standard 19-22-26-29 quint Mixture.
The G.O. foundation stops - maybe. However, there are seventeen 8ft. flues throughout the instrument. That should provide more than enough variety of tone-colour. In a building of this size, I should expect to find two Open Diapason ranks on the G.O. - even if the instrument is primarily voiced to be heard from the Quire.
-
To my ears these all sound different and improved since rebuilding. No doubt Downes was on hand when his creations were being originally voiced. I would be surprised if he were not.
Barry - I can speak of the instruments of both Gloucester Cathedral (on which I had regular lessons with David Briggs for several years), and Saint Albans (which I have played for choral services) from first-hand experience. I can assure you that the influence of Ralph Downes has certainly not dissipated - either with the passage of time, or as a result of additions or alterations.
To take first Gloucester Cathedral. There was virtually no revoicing, and only a few additions on the Pedal Organ, a re-pitching on the West Positive, one re-voiced rank on the G.O., and a subsequent addition of a Trompette Harmonique to the West Positive. The rest of the instrument is, tonally, as left by Downes (well, Philip Prosser, to be strictly accurate).
In the case of Saint Alban's Cathedral, again there have been a few additions, but the instrument is substantially as it was left after the re-pitching of the chorus mixtures some years ago.
David Drinkell and Vox Humana make valid comments about Downes: he was a player and teacher of some repute. He was well-travelled, and had studied many historic instruments, the better to inform the decisions which he made when designing the organ of the RFH.
1956 OUP - A Christmas Album
in Organ Music
Posted
The ARCM diploma has been retired....?
That's a shame. The hood is quite nice, really.