AJJ
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Posts posted by AJJ
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£5 off, actually, making £7 - still a decent price.
Paul
Maths was never my strong point!
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This looks good. If you type BACHORGAN into the discount box at checkout and you get the CD for £5.00 (p/p etc. on top) - good value I think!
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Well I've had a go, but just as when I searched for Compton & RADAR and ended up knowing a lot more about the Manhattan Project than I needed to do, I now find that I am becoming increasingly knowledgeable about particle physics.
Sorry!
MM
Thanks anyway!
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If anyone here can point me in the direction of a copy this chap's
for organ could they please make contact.I've tried the usual sources but can only come up with it re. YouTube - unless it is one of his Three Pieces for Organ.Cheers
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I believe that the NPOR is correct in regards the Independent Evangelical Church. The building is know in use as "Woodlands Christian Centre" and it was, for a few years, my regular place for the evening service on the first Sunday of the month which was called "The Mix". I last went there in 1999 I think and I don't recall any organ being present.
Judging by some of the photos on their website - http://www.woodlandschurch.net/ - it seems that the ceiling has been lowered a bit with a fake one put in and therefore there is no room for an organ to be present.
HTH,
Dave
In an email today they said that the organ is not there now nor has it been there during their time in the building.
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Another recent surprise was to hear a fine recording of the wonderful Midmer-Losh at Phoenix, Arizona......what an instrument that is!
These few remaining organs need to be preserved as they are.
MM
Here's another in good condition - check out the decidedly unusual spec. and the pictures to see the amazing long compass choir manual. The recording on Raven shows it off nicely. The organist there, Anthony Burke is also very obliging with info. etc.
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You may like to know that Alex Woodrow, Asst.Org. Hexham Abbey, has been appointed DOM at Bradford Cathedral w.e.f. January 2012.
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....and Marcus Wibberley from Portsmouth Cathedral is the new DOM at Hexham from November.
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I was very fortunate to play it after the dedication service a few weeks ago. Sadly the reeds and mixtures hadn't been finished and weren't available, but I found it very pleasant to play and listen to, although rather exacting in terms of accuracy - it was very easy to smudge notes. It's certainly not built to accompany Victorian choral repertoire, but will be a superb teaching and learning instrument as Ian envisaged. I think Odiham really have earned the instrument by virtue of their tireless fund-raising, and the whole project has demonstrated the high regard in which Ian Ledsham was (and still is) held - he was a superb musician and inspired so many others to pursue and enjoy music too. Needless to say, I knew Ian well too - I was his last organ scholar at Birmingham and worked very closely with him until his tragic death. He would have liked the instrument!
The spec is:
[Pedal]
Bourdon 16'
Principal 8'
Bass Flute 8'
Trombone 16'
[Great]
Open Diapason 8'
Stop Diapason 8'
Principal 4'
Flute 4'
Twelfth 2 2/3'
Fifteenth 2'
Sesquialtra III
Mixture II
Cornet V
Trumpet 8'
[swell]
Open Diapason 8'
Stop Diapason 8'
Dulciana 8'
Principal 4'
Fifteenth 2'
Cornet II
Hautboy 8'
Trumpet 8'
Usual couplers, balanced swell pedal, combination pedals, mild well-tempered tuning.
Thanks
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I knew there was a Bristol Hele lurking about in the back of my mind. St. Mary's, Tyndall's Park, Clifton had a grand old three manual with everything the heart could desire for its period - Pedal reed, 32', Swell 16.8.4 reed chorus 9and Harmonics-type mixture), Vox, Tuba.....
The church was closed in the mid seventies when I was a student, but I notice from NPOR that it's being used again by an 'Independent Evangelical Church'. I wonder what happened to the organ - it might even be there still.
http://www.npor.org.uk/cgi-bin/Rsearch.cgi...ec_index=N03802
'Will ask around fellow members of the BDOA.
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Also should be getting into the Town Hall in the next few days,
http://npor.rcm.ac.uk/cgi-bin/Rsearch.cgi?...ec_index=N07449
'rubbished' by quite a few but i am beginnig to think otherwise).
F-W
'Would like to see this sometime too.
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Quick query.
I have just been booked to play a concert of Christmas pieces in December on a small classical organ.
It would be lovely if it had a Cymbelstern, but it doesn't.
Can anyone point me towards a downloadable MP3 for a Cymbelstern that might be pressed into service, or even one of those tinkly ones Carlo Curley used to have on his console.
I appreciate this is utterly naff, but, hey, its (nearly) Christmas.
Many thanks
M
Nice idea - I'll have one too if anyone finds one!
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Reading Ian Bell's account of Compton in the BIOS journal some years back, one gets the impression that Downside was exceptionally fine -which I think it is.....
It being just over the hill from here I had long wanted to play it and actually managed to get a considerable time there some years back. There are some very fine points tonally but also one or two rather weird corners (synthetics and some of the mixtures) - I also found many of the plena strangely unexciting. Also, part from the Tuba in its own little box much of the rest had a slightly non directional feel about it. It would be interesting to hear Derby, Wakefield etc. to compare - though - three years at Southampton University provided the opportunity to savour the big Compton in the Guildhall there. I never touched the theatre console but have fond memories of the other including the brilliant Robin Bowman playing the continuo (and one suspects much more) part for Messiah on a very clear set of 8', 4', and 2'.
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Laurence Elvin also put together quite a lot of information on Compton in Pipes and Actions - someone recently commented on this elsewhere. It seems fairly ok and not overladen with 'memorabilia'.
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Something a little sweeter would be St Margaret's Priory in King's Lynn (just East of Wisbech). A very historical organ and very grand building.
And if you contact the DOM - Adrian Richards you might be able to get a play.
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Hello!
We are going to depart for our second trip, now without children. Arriving on Monday on East Midlands Airport, we are going to Leicester for Evensong (as the choir of Lincoln has a time off), continuing then to Lincoln (as the music list came not too early, we already booked the overnight stay there - but visiting this church is a mus for us) and Peterborough (Evensong on Tuesday, and so missing the BBC transmission there on Wed), travelling on to Norwich with Evensong on Wednesday, continuing to Cambridge (Evensong in King's on Thursday). Going to or from Norwich we will pass Ely, but without attending a service. On Friday we will travel back to the Airport via somewhere for departure in the evening.
It is a very tight schedule, but maybe somebody would like to give us some advice, what not to miss or what to pay certain attention to (including traffic or parking issues! And even historic railway sights...).
We are eagerly awaiting to get in touch once again with these uncomparable impressions of landscape, architecture, music and spirituality.
Greetings, KBK
Try and get to see some of the 'rest' of Lincoln and Norwich - both lovely cities - St Peter Mancroft - the church in the market place in Norwich has an interesting organ too. (Lincoln was home to us for 3 years and my wife studied at UEA in Norwich.)
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I'm pretty sure it was in a room in the Cambridge Music Faculty in the mid 1990s, although I must admit I never played it.
Thanks - here it is.
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Recently there has been a discussion on how much knowledge well known past "names" in the UK organ world had - just by chance I noticed an article in one Organ magazine on Mr Clutton's House Organ" - built by our hosts and with a flat pedal board - I think Clutton deserves 10 out of 10 for that !!!)
As a matter of interest does anyone know where this instrument (Mander I seem to remember) ended up?
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Here's an interesting one - Nocturne for an Orange in G flat by Porter Heaps. I dread to think what other fruit combinations one could use. Seriously (!) if anyone has a copy of the same composers Swinging Bach please could they PM.
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I recently re read bits of one of Laurence Elvin's books quickly followed by a quiet afternoon thumbing through back issues of The Organ and it set me questioning. Much of the wrtiting is in a sort of all knowing 'gentlemans' club' type style with a smattering of descriptions of the sounds of stops etc. and somewhat hazily simplistic historical backgrounds. How do people rate these writings these days - compared to Bicknell, Thistlethwaite, Jonathan Ambrosino (in the USA) and Peter Williams for example. Were they 'just' interested amateurs - not that there is anything wrong with that - or real experts in their field? In parallel way - what also of their work with the instruments themselves? As an example - Wells Cathedral. I sang their again recently and was quite disappointed by the way that the organ was not able to conduct itself even in expert hands. Soundwise the early work and later Clutton inspired additions did not sit easily together with everything somewhat lacking in real projection and identity - another similar scheme at Ely has not long ago been somewhat 'de Cluttonised' and for its good from what I have heard. Ralph Downes had enough personality and identity in his work (backed up by his writings ) for most of it these days to be just 'augmented in style' (St Albans, Paisley, RFH and Gloucester for instance) but how do these others stand now?
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I am playing for the wedding of a friend on this Hele next year - one could open another 'repertoire' thread on it perhaps?
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I'm quite convinced that church music is much, much richer for the contributions from those who, for want of a better phrase, were not blessed with the gift of conventional belief, although they may have had an intensely spiritual nature.
Hubert Parry, Ralph Vaughan Williams, Herbert Howells, Benjamin Britten, Michael Tippett, Herbert Sumsion, David Willcocks, Peter Maxwell Davies, John Rutter, etc......
(Handel, Haydn and Schubert?).
Such people often breath fresh life into the genre, and perhaps they have the advantage of a certain detachment.
Of course, there's a whole lot of really awful music written by believers, too.
I agree - but I often feel a sort of detachedness (?) in Britten's 'churchy' music - possible that the fundamental words/music/sentiments connection was not always as present as in others' music. Not that he didn't do the tasks asked of him extremely well though - the Jubilate in C is a good little piece as are the 'Hymns to ...' various entities. Compared to the Grimes Sea Interludes, String Quartets etc. there is no comparison IMHO.
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I do not know whether or not he was a genius - but I wonder if it was not just as much a case that he decided that he wanted a particular thing - whether it was possible or not. †
I have always had a fairly strong feeling that Britten's 'religious' works did not seem to stem from any 'religiosity' on his part. I could be doing him a disservice of course - connected with this (and seemingly agreed with by others here) his organ writing never seemed particularly 'organic' - mind you I have always been on the singing end of things rather than the playing.
I greatly prefer playing the organ (only) part to the Duruflé Requiem. Now this is a piece which I find intensely moving. Personally, I find it much easier to believe in the genius of Duruflé than of Britten.
Me too - but again as a singer or listener - or even page turner once!
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Yes and no. I live in Cheltenham and have played the organ in the Town Hall but only with orchestra in choral works which provide for organ backing/filling out. I didn't have much time to try it out in any detail but I can't say that I found anything 'wrong' with it apart from a couple of notes not playing, one on either of the Gt Diapasons. The pneumatic action works well enough but will require attention in the not too distant future. In fact it made rather a good sound, quite powerful and rich. It is well laid out in a very spacious area raised up behind the choral seating and designed, so it is said, by Sir H Brewer of Gloucester Cathedral. The only disadvantage, as I gather, is that the sound doesn't realy penetrate tha hall that well. 'High and lifted up' it might be but it and the choir seats are in a kind of alcove behind a somewhat lower arch. In front of the arch there is a stage area for and orchestra (a more recent addition, I think).
I have permission to go into the Town Hall and play the organ (just to make sure it gets used) whenever the hall is not in use but finding a time when I am able, when the hall is open but not in use seems almost impossible! Hooray for a well used Town Hall if not fur a well used organ.
F-W
Thanks for this - 'may PM at a later date.
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A Rather Small Cathedral Organ
in Nuts and bolts
Posted
Mine.
GREAT
Double Diapason 16
Open Diapason 8
Open Flute 8
Principal 4
Conical Flute 4
Twelfth 2-2/3
Fifteenth 2
Mounted Cornet (TC) 2-2/3 III
Mixture 1-1/3 IV-VI
Trumpet 8
Swell to Great
Chair to Great
Solo to Great
CHAIR
Stopped Diapason 8
Principal 4
Chimney Flute 4
Fifteenth 2
Sesquialtera 2-2/3 II
Mixture1-1/3 III
Tremulant
Swell to Chair
Solo to Chair
SWELL
Open Diapason 8
Chimney Flute 8
Salicional 8
Celeste 8
Gemshorn 4
Flageolet 2
Full Mixture 2-2/3 IV
Fagotto 16
Trumpet 8
Hautboy 8
Clarion 4
Tremulant
Solo to Swell
SOLO (Enclosed)
Harmonic Flute 8
Viola da Gamba 8
Flute Octave 4
Piccolo 2
Clarinet 8
Vox Humana 8
Tremulant
Tuba Mirabilis 8
Great to Solo
PEDAL
Open Bass 16
Sub Bass 16
Quint 10-2/3
Principal 8
Fifteenth 4
Bombarde 16
Swell to Pedal
Great to Pedal
Chair to Pedal
Solo to Pedal
Solo to Pedal Octave
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