AJJ
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Posts posted by AJJ
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Guy Bovet - Fugue on Pink Panther (although he doesn't call it that)
Charles Stebbings - In Summer
Andreas Wilscher - Toccata alla Rumba
Cyril Jenkins - Dawn
Henry Marcellus Higgs - Toccata
Joel Martinson - Aria on a Chaconne
Eric Whitacre - October
Peter Maxwell Davies - Farewell to Stromness (using a piano copy)
Malcolm Archer - Bells Across the Snow
John Williams - Star Wars
John Williams - Harry Potter
Michael Jackson - Beat It!
Danny Elfmann - The Simpsons
I think I had better stop!
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His incredible registration made the Metropolitan instrument sound like an organ; for once!
Richard Lea also.
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Priory Radio keeps on playing a rather good organ transcription of this piece, apparently played by Thomas Murray. Is anyone able to point me in the direction of where I might find a copy, please? One website quotes a transcription by C H Trevor dating from the early 1940s but I don't know how I would get a copy of that in the UK or whether it's the edition Murrary uses.
I'm not against playing occasional transcrpitions in recitals because they often go down quite well with audiences that are not greatly into serious church/organ music.
Thanks
Malcolm
I don't know about the C H Trevor version but the one I use is here (scroll down a bit to Elgar) - nice and easy and an effective arrangement - and good value too.
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I came across on once on the three manual house organ in New Hampshire. It was indeed a two-mouthed pipe voiced to undulate. The undulations struck me as rather unstable across the compass. Of course it may just have been a bad example; I seem to recall hearing somewhere that it is a difficult stop to make.
Here's a newish one by the J. P. Buzard company in the USA who use this type of stop quite a bit. A wooden doppel flute with each side independently ajustable.
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All good things come to an end, including my periodic silences.........
Good to see you back!
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Having played both instruments (Salisbury many times), I am not sure that I would agree with this. Salisbury is substantially earlier (albeit with additions and alterations in 1934) and there are clear differences in both the written stoplists and in the sound of each instrument. To be honest, I would choose Salisbury over Lincoln without hesitation - there is a somewhat greater tonal palette available (the superb Solo strings of 1934 are an obvious exampe). In addition, Salisbury, being rather earlier is somewhat brighter. I found Lincoln disconcerting in that there is not much 'top' to the sound - the mixtures add very little to the overall effect, which is completely reed-dominated; and, whilst none of the compound stops contain a tierce, they are just too mild. The Choir Mixture (H&H 1960) was quite disappointing - it almost sounded as if it had been re-cast and pitched an octave lower at some point.
'Just listened to Priory PRCD 379 - English organ music played at Lincoln by CW on the way back from church in the car - on here the organ is as I remember and with the best music suited to it. 'Master Tallis' sounds sublime - like the sort of pre Evensong wandering that some of us at least wish we could replicate. The Alcock I & P is majesterial and the Stanford D Minor Toccata fits the organ like a glove. The playing is of course top notch. I agree about Salisbury in many ways - 'heard it many times though not played anything on it above mezzo piano. Lincoln in the right hands and repertoire is masterfull - French 19th/20th Century repertoire will work well but the instrument's pedigree is firmly on the other side of la Manche.
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.....and without the assistance of general pistons.
Although - with the Pedal to Great Pistons and Pedal to Swell Pistons couplers you could do quite a few handy things like setting a bass for just about everything. Certainly the lack of generals seemed not to be too much of a handicap pre last restoration.
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I too thought the excellent Vierne poorly miced as was the organ in CW's excellently orchestrated accompaniments to the psalms, Brahms and hymns.
I am sure that had the Brahms been accompanied by orchestra, rather than organ, far greater care would have been taken to ensure that the accompaniment was given proper clarity in the overall mix.
I have heard the Lincoln organ many times and could never describe it as sounding "muddy"!
mpk
'Agree totally - the techno types didn't seem to be ready for whoever or whatever was about to need a mic. Starts seemed not to be anticipated and 'broadcast' choir balance was variable. 'Just as well the music was so very good - shame though!
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Colin Walsh's reading of Allegro from Symphony no.2 is outstanding and the organ, as always, sounds magnificent.
It surprises me that more people do not enthuse more about this combination of instrument and player. Having worked with and learnt on the Lincoln organ I can vouch for it's versatility and in the hands of the right player both liturgy and repertoire come off exceedingly well. OK, the sound tails off quite soon going down the nave but the 8' and 4' tubas with 32' reed (somewhat in the manner of an orchestral timpani in effect) can be used to control a flagging congregation and in the quire the 'surround sound' can be spine chilling - especially the Swell unleashed from next to nothing in an appropriate psalm etc. Quiet sounds and combinations are limitless with the Choir stops especially having great presence. I could go on for ever but do get hold of the Priory DVD and have a look for yourselves! The choir is really top notch too.
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I have often wondered what this sounded like. Liturgically it looks as if it could be quite effective as well as coping with the appropriate repertoire.
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Absolutely - the recording of Duruflé's Prélude, Adagio et Choral Varié sur le thème du 'Veni Creator' with this player and on this instrument is , for me, definitive - and sublime.
'Agree! Though - my next favourite version - I tend to alternate between the two - is John Scott at St Paul's - not necessarily an organ you would expect to do Duruflé justice but really atmospheric etc.
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Here's a rather nice find on You Tube, with an excellent Trumpet Tune (real trumpet and trumpeter) accompanied by the Compton organ at Downside Abbey.
What a superb sound for an extension organ!
MM
Roger Taylor the organbuilder from Burrington in Somerset (ex R & D) was looking after the Downside organ - and most probably still is. 'An expert on all things Compton - he spoke about it on a BIOS conference based in the area some years ago - along with Ian Bell.
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Simon Preston's Toccata (1998) for solo organ is being published shortly by Encore Publications.
A good recording of it here also.
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Tonight in Oxford:
Keble College Music Society presents the internationally acclaimed improviser, composer, conductor, and organist Alexander Mason improvising to Lon Chaney's silent movie masterpiece "The Phantom of the Opera" (1925).
Come and enjoy this classic black and white horror movie in the Neo-Gothic setting of the splendid Keble College Chapel accompanied by the newly installed Keble pipe organ in its full glory.
Tickets (on the door):
Free for Keble students
£5 for other students / concessions
£10 for general public
Very tempting - but a bit far to go!
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OK then, be blown away by this, in spite of a bit of distortion in places:-
I find this quite stunning; especially since it doesn't rely on either couplers or pedal reeds.
I think Bach, lying in state a few feet below, would be very happy with this.
MM
Very nice!
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PS There is also a good CD of Dame G. W. playing Bach here
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I am interested - the free download organ pieces by contemporary composers that come with this excellent journal - does anyone here ever download them and use the music?
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I'm glad of this last and others who have spoken in praise of the Coventry instrument.
The recordings at Coventry by David M Patrick (complete Duruflé without the posthumous Meditation) and Iain Quinn (American Organ Music) are very impressive - 'sound wise' as well as 'playing wise'. In fact when I heard Duruflé played at S. Etienne du Mont in Paris a year or so ago it sounded very much like Coventry - one tends to forget about the 'neo' nature of the instrument D. was composing for.
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Someone has asked about this before on here - maybe a search?
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Well, all these read as British as they come.
I like AJJ's attempt at more chorus versatility, and want to try something similar, except for some details. Also, I'll try to remain within the 35-stops range.
Best,
Friedrich
Thanks - 'wouldn't mind yours to play on Sundays etc. either.
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Ruthin - out of interest are there any recordings available of this?
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Single notes are a bit boring.
Now a harmonic thrutch of diaphones is....well.....interesting......
Of course, with suitable upperwork, not forgetting that they are notoriously difficult to regulate and tune:-
Note the sound of the diesel-powered blower at the end!
MM
Very Good!
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Add weight to your voices, bring back the Diaphones!
They'd have coach-trips full of organists queuing up to hear them.
MM
Try here - they were going strong last time we stayed down there.
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Lollipops
in The Organ
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