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kevinbowyer

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About kevinbowyer

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  1. This is unrelated I fear but can anyone help me with dates and any biographical detail about Errol Williams? I believe he was curator of the organ at Blenheim Palace in the late 1980s. Thanks.
  2. How very kind you are about the old Reger at St. Albans. I remember the terror and perspiration as if it were yesterday! I'm ashamed to say I'm ignorant of almost all the repertoire you mention. More information please? Kevin
  3. Hello again. The 24th October programme was a programme of light music framed by two pieces of jazz, greatly enjoyed by those who turned up. The Henry Hudson (1912) was from the Storm CD, which sold many copies at the concert. The April 4 concert is a lunchtime organ meditation, not falling into the remit of the Tuesday series. The music in this infrequent lunchtime series is deliberately liturgical and reflective in nature. The two works played in this one are both pieces for holy week and are rather in the vein of Dupré. Both are good pieces and deserve to be heard. Of the other programmes, a trek through John Hendrson will reveal that most of them are Romanitc or early 20th century, the most modern pieces being the Leighton and Eben from Peter's recital, the one you single out as being the odd one out. I think the real problem here is not that the music is contemporary, but that there's an "obscure" slant. Hummel, Richard Hall (1943), ApIvor (1949), Harold East (OK, 1980s but very easy listening (and easy as well as rewarding to play - and short - can't recommend this too highly), Pallesco (very much in the style of Dupré/Duruflé - went down very well when I played it in Truro a couple of years ago), and my two discs of music by Paul Fisher should convince that this music is hardly difficult to listen to. But you don't quote my programme of music with narrator (Feb 27), and I wonder why not. That's an equally obscure programme (but very easy to listen to, even funny): Richard Francis, Ernest Austin, Ronald Watson, Paul Fisher, Ad Wammes.[There are people out there, perhaps in a minority, who appreciate something a bit different, as well as people who stay away from organ concerts because they can be so predictable. On the Glasgow recording front, yes there are many plans to record the organ, hopefully at least four or five CDs this year alone. A lot of late Romantic repertoire, including the last disc in my Alkan series, the Op. 31 Preludes. It is a fine, subtle instrument. The Organ Festival (plug) runs from June 3-June 16 with recitals by Sophie-Veronique Choplin, Jacques van Oortmerssen, John Kitchen, John Butt, Chris Nickol, Peter Y-J, Francesca Massey and two by me, including a complete performance (June 16) of "The Pilgrim's Progress" (nearly three hours long) by Ernest Austin. Pay us a visit. Best wishes, Kevin quote name=Jeremy Jones' date='Feb 5 2007, 06:08 PM' post='19340] I am grateful for Kevin for taking the opportunity to reply to my posting. However, what Kevin omits to mention is that works by the composers mentioned are spread over a number of recitals and stand shoulder to shoulder with music by other composers to which the word 'obscure' must surely have been invented to describe them: 24 October - Adalberto Guzzini, Graham Hunter, Harold East, Henry Hudson, Dick Koomans 4 November - Hummel, Bach, Richard Hall, Durufle 23 January - Bach, Denis ApIvor, Vaughan Williams, Harold East, Jongen 30 January - Bach, Michael Short, Howells 20 February - Bach, Widor, Eben, Howells, Leighton 4 April - Iain Shaw, David Nield May 1 - Thierry Pallesco, Paul Fisher, Reger Note the odd one out - 20 February - when Peter Yardley-Jones, the Organ Scholar, is given his head with what looks on paper an attractive programme. Kevin has carved a niche for himself as an organ recitalist who champions contemporary music, and that is to his credit and to be applauded. It just seems a shame that his recitals are monopolising such a romantically inclined instrument as that in the Memorial Chapel in Glasgow with works suitable for an organ of more recent vintage and disposition. With such a diverse discography, Kevin could never be accused of being a one-trick pony! However, I have found Kevin or his record company's bent for recording on chilly Marcussen organs a bit of a turn-off. Not so the Organ Explosion recordings, both of which lounge in my CD library. As for the Storm CD, well again my main complaint here is the Blackburn organ, which I do not like. Had that CD been recorded on the Glasgow organ, Gary Cole would have been richer by £13.50. Mention of recording the Glasgow organ, are there any plans in the pipeline to burn a CD or two?
  4. Hello Jeremy, Just a couple of small gripes. Firstly, re. the Glasgow Uni organ concerts: it would be nice to be represented accurately here. I notice you say the only respite from "this stuff" is the organ concert by our organ scholar Peter Y-J in February. Please do take a "cursory look" at the recital programmes and you'll see that in the last couple of months the Tuesday recitals (by me) have consisted of music by Bach, Vaughan Williams, Duruflé, Jongen, Dupré, Rheinberger, Howells, etc. In fact, with very few exceptions, it's all been more or less standard repertoire. The contemporary stuff is saved for the series "Glasgow Pipeworks" which runs to four recitals a year and is specifically reserved for that repertoire. Next, a lesser gripe - and this with a bit of a smile: although I do play much more contemporary repertoire than most other organists (and deliberately so too) I've also recorded the entire organ music of JSB on 29 CDs, plus all the Brahms and Alain as well as Schumann, Reubke, Hindemith etc. And did you miss the light music? Organ X-plosion (2 volumes) and "Storm" on Regent? If my contemporary music reputation has run me off the board for everything else, then perhaps that's something I should be proud of. No criticism really - just a plea for accurate reportage. Kevin Bowyer
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