Malcolm Farr

Since there seems to be general agreement that Alain was alone when he was killed, reports can surely only have come from nearby French civilians or the Germans involved in the action. In either case - but perhaps especially in the latter - they indicate at least level-headedness under fire, if not outright heroism. Rgds MJF

What I have read is that JA's end came while he was deployed as a motorbike dispatch rider in the French army at Le Petit-Puy between Angers and Chinon. He was intercepted by German forces advancing through the area, tried to escape back to French lines, and was shot. I wonder if the most definite thing that can be said of JA's death is that the fact that it took place during the tumult and uncertainty of wartime has permitted the rise of a number of "myths", and that these may have been increased by the tragedy of such a gifted young composer being taken so young. Rgds MJF

And before anyone says anything ... Yes, I realise the Romane is out of season but, hey, it's good music, and I don't think anyone in my church would recognise Haec Dies, let alone associate it with Easter. Rgds, MJF

Oh dear! Not having read the Virgil Fox thread - no interest in his particular form of artistry - I wasn't aware what had happened. I wholeheartedly concur with comments above - Stephen's words of wisdom will, I'm sure, be missed. Back to thread. Played the postlude at my church last Sunday - the Final from Widor's Symphonie Romane. (Not playing full services - joined congregation only recently, playing by invitation, but not at present organist in an official capacity.) Rgds MJF

"The lamented Mr Farr"? I assume you refer to my namesake of Guildford. What has happened? Rgds, MJF

Given the German connection and the potentially appreciative audience, you could also program matched or, at least, contrasted, chorale preludes. For example, Brahms' prelude on "O wie selig" to Crüger's tune could be set against Willan's prelude based on Stözel's different melody for the same hymn. Alright, Willan migrated to Canada, so perhaps can't be considered 100% English, but what the heck ... Rgds MJF

The Hill at the Sydney Town Hall has a Glockenspiel of 4 ranks in the Echo. It's a 4-rank pseudo-Cornet with, I think, a composition of 1:12:17:22 throughout. Rgds, MJF

Ah yes, but does it sound like Rimsky-Korsakov? Rgds, MJF

I was going through some paperwork last night, and came across some notes that I made on an organ ramble some years ago. My comments on one instrument made me wonder about conventions (or lack thereof) in stop nomenclature. The seven-stop Swell was disposed as follows: Lieblich Gedact 8', Salicional 8', Flute 4', Octave Gamba 4', Mixture 2 ranks, Contra-Oboe 16' and Horn 8'. The Contra-Oboe began at tenor C and included an extra octave of pipes for use with the Swell Octave coupler. The stop disc was engraved differently from others in the department, and I assumed that the rank was originally an Oboe 8' that had been shifted an octave so as to do double duty. (Okay, that's a pretty shocking pun ...) Using a disc that says "Contra-Oboe" rather than, say, "Fagotto" or "Bassoon" was probably quite reasonable in the circumstances. However, I wondered about the Octave Gamba. The disc was clearly original, but the stop itself was a true octave to the Salicional. Why not simply call it "Salicet"? On the one hand, there was no Gamba 8' to which it stood as octave. On the other, there was no need to call it Octave anything, qua pitch indicator, as the designation 4' on the disc clearly took care of this. Do others find themselves intrigued or even miffed by such inconsistencies? Rgds MJF

I think that Australia has, in relative terms, a slightly stronger tradition of women moving onwards and upwards at our cathedrals than is the case in the UK. More notable examples are June Nixon at St Paul's in Melbourne and Annette Goerke at St Mary's in Perth. Annette retired about five or six years ago, and has been succeeded as organist (but not DoM) by Jacinta Jakovcevic. I attended Jacinta's recital at St Mary's on Sunday, and was pleased just how well she was able to cajole quite reasonable sounds from what is imho a quite mediocre instrument. It's a 1910 Dodd (of Adelaide), greatly extended (quite literally) in the 30s and 60s to provide a large paper stoplist, but with not much in the way of substance. It's now being taken down, to be worked over by the South Island Organ Company of New Zealand. It will be interesting to see what eventuates. In fact, St Mary's totally closed immediately after the 5pm service for 18-24 months of refurbishment and partial rebuilding, the congregation spontaneously bursting into applause once the final benediction had been given. I'd never experienced this in a church before, but somehow it seemed quite appropriate. Has anyone else come across this sort of thing? Rgds, MJF

Interestingly, in 4 1/2 pages or so of "the finest five organs in the world" (and a few diversions about Carlo Curley), no one has mentioned Girard College in Philadelphia, USA. Now I've never heard Girard live, and most likely never will - I gather access is quite limited - but certainly on recordings it comes across as the "real deal". (Come to think of it, didn't CC record it?) Has anyone in Discussion Board Land experienced it live, either playing or listening? Rgds, MJF

Malcolm Farr, intellectual property lawyer, married with five kids and Saint Bernard dog. (What a tribe!) Lived mostly in Australia, particularly in Sydney, but moved west to Perth a few years ago. "Titulaire" of my home toaster, and not currently looking for any church positions. My practising is the despair of my family, and I think they'd prefer to see me healthily engaged inflicting my talents (or lack thereof) on some unsuspecting congregation. (However, our local church is of the guitar and drums variety (and hence I find excuses not to attend), so the poor congregation already has enough of a collective hairshirt.) Musical interests vary: Bach is fairly constant; Reger and Karg-Elert get a bit of a workout; the English too - Parry, Stanford and Whitlock; and Widor and Bonnet are in at the moment. Rgds, MJF

The facade pipework at the Sydney Town Hall is absolutely plain, except for the mouths. The pipeshades are similarly understated. The organ front simply relies on the architectural coherence of the whole for an incredible effect. Walking through the vestibule into the hall - not often enough these days, as I've been living for the last few years on the opposite side of the country - I still find that I'm quite stunned by the sight - "gobsmacked", as my son would say. Rgds, MJF

It depends on the context. I've always thought it's best to change the mood from what's gone before, so a transcription can be a good choice where you've finished the recital proper on a serious note. On the other hand, I've gone somewhat the other way when the occasion seemed right - for example, from that old warhorse, the Final to Vierne 1, to Bach's Nun Komm der Heiden Heiland BWV 659. Rgds, MJF

Eric Coates' Dambusters March always goes down a treat ... Rgds, MJF

Good size two manual, or small three? My personal preference is for three, but I suspect that's as much as anything based on my range of experiences - and, possibly, prejudices. Even on a small three decker with less developed choruses, I think planning registrations over much of the literature - at least, that part of it with which I'm familiar - is a whole lot easier than on a two manual job. Interestingly, this subject has been touched on from the organ builder's perspective in Manders' porfolio page devoted to St Peter's, St Louis, Missouri. The organ there is half as large again as that we are considering here, but clearly Manders took a rather different view. Undoubtedly a valid point of view, and certainly gave me pause when I re-read it. Rgds, MJF

All of which goes to show how subjective these things must be. Westminster Cathedral seems to figure prominently in the thoughts of everyone else in this thread. However, I'm in the UK only once every now and again, and have never heard it. In fact, I don't even have a recording of it. Clearly my education has been sadly lacking ... Like everyone else, I suppose, I'm limited by my experience. Rgds, MJF

The five finest organs in the world? What a question!! Okay, here are my choices: The Hill at the Sydney Town Hall - no doubt about it, it's got to be right up there. Incredible choruses, perfect blend. No more need be said. The Cavaillé-Coll at St-Sulpice. Pretty much the same really. The FC Schnitger at the Laurenskerk, Alkmaar. Same again. (Funny, that.) The Harrison at St Mary Redcliffe. Perfection in late British romanticism. And now one, as the Americans would say, right out of left field: The Andreas Silbermann at Ebersmünster. An incredible fusion of French and South German style that creates its own tradition. A truly beautiful instrument. Rgs, MJF

My view is that they tried to do too much in this instrument. Partly North German baroque, partly French classical, partly French romantic ... To me, it's bit of a mash that just doesn't hang together. Far better to hear or, better, play, some of their instruments in the US ... when it's safe to fly over there. Rgds, MJF

It's quite a while ago now, but one of the most exciting small instruments I've come across is the Fisk at the Old West Church in Boston (US). Three manuals and pedals with only around 25-30 stops, but still large enough for well developed choruses. Good strong voicing all around, with great blend. I also had the opportunity recently to hear Fisk's magnum opus at Lausanne Cathedral. Oh well ... Let's just hope that there are substantially more "goodies" than "baddies". Rgds, MJF

Another few that rate a mention might be: Sir Walter Alcock's Introduction & Passacaglia. This is surely far and away his best. But is it popular enough to be counted a hit? Farnam's Toccata on O Filii et Filiae. A good piece, and (I think) his only one. Manari's Concert Study on Salve Regina. Though perhaps not a real hit. It sometimes gets a work-out on recordings, but come to think of it, I haven't yet come across anyone willing to play it live. Rgds, MJF

I agree that Jongen's Chant de Mai, fine piece though it is, isn't nearly as well known as the Sonata Eroica. But what about the Toccata? I would have thought that would have to be right up there on the popularity scale. Rgds, MJF

It wasn't entirely his fault though. <{POST_SNAPBACK}> No, not at all - but it sure ensured he went out on a high note! Rgds, MJF

Actually, another came to me almost immediately - Georgi Mushel's Toccata. Great stuff, but did he write anything else of note for the organ? Rgds, MJF

There was a programme on television the other night about the "one hit wonders" of pop and rock etc - groups like Chumbawamba, for example, with their drinkers' anthem, Tubthumping. I started wondering who we'd call the one hit wonders of the organ world. Julius Reubke and his Sonata on the 94th Psalm immediately spring to mind - I gather he wrote another piece for organ, but it's certainly not standard repertoire material. What others would we put on the list? Rgds, MJF