wolsey

A Private Function

I imagine that some people would regard Bach's arrangements of concerti by Ernst and Vivaldi, and trios by Fasch and Couperin as beyond the pale.

The Rite B setting at NEH 542 is by Merbecke, while the Rite A setting entitled A New English Folk Mass (NEH 541) is, so I was told, by Arthur Hutchings.

For me, Byrd's Mass for five voices has the edge over the four-part setting; the second tenor line gives the texture a fuller sonority.

A very rough trawl of the OUP catalogue for John Rutter's sacred music for SATB produces about 50 items; many responses here seem to based on knowledge of a handful of the oft-sung 'favourites'. As I write this, I have his double choir anthem Come down, O Love divine playing on the computer which shows another aspect of his musical language - and hardly 'sugary' or 'schmaltzy'. He is a gifted and successful composer and editor of considerable scholarship whose output, as far as Anglican church music is concerned, fills particular niches well. The "exciting stuff" mentioned by Holz Gedeckt (no relation to Leeblick (sic) Gedeckt, I assume) was a highly inappropriate (arguably libellous?) remark on this public forum about a living composer - serious enough to demand action from the Moderator.

I conducted his Requiem for choir and orchestra a few years ago. What was crystal clear to the singers and to me in the weeks of rehearsals was that he knows how to write effectively for an amateur chorus, and - above all, the accompaniment helps the choir at practically every single entry; if the sopranos were unsure of their note, it was being played by an instrument (with a distinctive timbre) a beat or two before the entry. Such a compositional/orchestrational skill put Rutter in the choir's good books at the outset.

I am sure I read somewhere that Hyperion are "on the case". Watch out for developments in 2008...

If your choir's affiliated to the RSCM, the music planning guide Sunday by Sunday should be your first stop... otherwise the following all feature the Magi/Wise Men in their texts: from Anthems for Choirs 4 - Hoddinott: Puer natus H C Stewart: On this day also Händl: Omnes de Saba arr. McPhee: Whence is that goodly fragrance? Howells: Here is the little door Ouseley: From the rising of the sun

Who, precisely, are these people (grumpy old fossils?) in their "high and mighty organ lofts"?

We're digressing somewhat from favourite British players of Bach, but I'm not sure where the argument above takes us - unless I've got the wrong end of the stick. What about those musicians who spent some time at a conservatoire before or after university? Were Peter Hurford, Simon Preston, John Scott, Thomas Trotter, David Hill, David Briggs, David Goode - or Andrew Fletcher - truly "performers" before, during, or after their time at university? What about Professor John Butt, a superlative player and academic?

It needs to be further clarified, perhaps, that Simon has been appointed Cathedral Organist at St Mary's RC Cathedral; the Director of Music there is Emma Turnbull.

One assumes that they are playing all the right notes, but not necessarily in the right order...

QUOTE(wolsey @ Oct 8 2007, 08:08 PM) * The ISM does not publish recommended rates; it is no longer allowed to do so under the terms of the Competition Act. It does though publish a Fees Survey 2006 (an appendix of their Organists' Guide to Employment) which is available to all from their website. I was referring to the ISM - not the RSCM...

The ISM does not publish recommended rates; it is no longer allowed to do so under the terms of the Competition Act. It does though publish a Fees Survey 2006 (an appendix of their Organists' Guide to Employment) which is available to all from their website.

I stand to be corrected on the detail, but wasn't the interior of King's College Chapel being cleaned and the organ overhauled (1968)? I believe the recording of Vaughan Williams' Mass in G minor was also made in Trinity.

I can see the trench coat, so it's certainly John! Seriously though, and as I think I've said before on here, John (a retired schoolmaster) is one of the best - unsung - exponents of the art, known to the cognoscenti. He was assistant at Birmingham Cathedral when David Briggs was but a chorister. The young David used to run to the console after a service to watch and soak it all in. The rest is history...

As no-one has done so yet on here, may I wish many happy returns to Dr Francis Jackson CBE who has been celebrating his 90th birthday today.

Not really curious. The title has indeed changed, reflecting the nature of the new post. Professor Harper did not bestow his job title upon himself. He was asked by the RSCM Council to combine the role of director with that of chief executive, with the title Director General.

I have played it, but many organs would pale into insignificance besides Salisbury which, together with Truro (which I've given a recital on), are arguably Father Willis's finest instruments.

??? I can't remember it being that bad on the occasions I've played/heard it...

I have the same edition as Barry, and to be honest, no.

Wesminster Cathedral Bath Abbey (Klais) St Alban's, Holborn St Peter's, Eaton Square (Jones) Royal Albert Hall (restored)

I bought The Hymn Tunes of Ken Naylor in 1997 for £2. The booklet was then available from the compiler of the selection, Christopher Solomon, at Green Lane End, Spittal, Fangfoss, YORK YO41 5QR. I have to say though that my initial enquiries lead me to believe that the compiler may no longer be at that location, though you can but try. The rights of Ken Naylor's tunes and arrangements are administered by OUP on behalf of the Naylor Estate, so perhaps they can help further. An e-mail to music.permissions.uk@oup.com might set you off on the right road. Good luck.

Absolutely. I remember hearing a radio programme about this, and his reading of his Allegro barbaro had none of the piano-breaking savagery which is so often heard.

Mentioned in post 5 above, but no-one here will hold it against you