Jump to content
Mander Organs

iy45

Members
  • Content Count

    91
  • Joined

  • Last visited

Posts posted by iy45


  1. On 02/02/2020 at 00:09, MusoMusing said:

    I would have thought that metal pipes are cheaper to manufacture than wooden ones; especially zinc ones.

     

    I think I'm responsible for introducing the notion  that metal pipes are more expensive than wooden ones. I really don't know, and I was just making presumptions about the costs of material and labour. I guess the expert answer would be on the lines of "It all depends on ...", but is there a rule of thumb answer to the question of which tends to be cheaper?

    Ian


  2. 8 minutes ago, Stanley Monkhouse said:

    Why did Willis I use metal at Carlisle and Salisbury, but (assuming only one 32ft flue) wood elsewhere?

     

    Wouldn't it be because metal pipes are much more expensive than wooden ones (aren't they)?

    Ian


  3. I too thought - somewhere in the depths of my memory - that it was only the outer sections that derived from the wedding march, but when I checked I found the Little quote above; it's not my field, but his introduction in the Novello edition certainly suggests that he knows what he's talking about.

    Either may, my question remains: what on earth was Mendelssohn thinking about when he combined a wedding march with a penitential chorale?

    Ian


  4. I wonder if anyone has any theories about something that's puzzled me for years.

    Little, in the preface to his Novello editions says of the first movement: "The final version of a work written for performance at his sister Fanny's wedding in October  1829".

    Certainly the outer sections would make a decent Wedding March, but how do we explain the first fugue, which has in the pedals the tune which in Germany is sung to a metrical setting of Psalm 130 - "Aus tiefer Not schrei zu dir", or, in English, "Out of the depths I cry to thee"?

    Surely not Mendelsohn's idea of a joke, but what might the serious message be?

    Ian

     


  5. 22 hours ago, DaveHarries said:

    The recent edition of Choir & Organ magazine for July / August 2019 reports in its news section that the console of Notre-Dame's grand organ is unusable: the electrics and electronic system are entirely out of service so the console must be rebuilt.

    That'll teach 'em for removing Vierne's console!

    Ian


  6. 1 hour ago, Jonathan Dods said:
    Samuel Sebastian Wesley (1810-1876)

    Duet for Organ in C Major 

    - Allegro - Andante  - Fuga. Alla Capella 

    Free admission

    Jonathan

    The Duet is by Samuel Wesley (son of Charles the hymn writer, brother of Charles the organist, and father of Samuel Sebastian).

    The BACH motif lurks here and there in the Fuga, which - unless someone knows better - is surely a first in English organ music.

    Ian


  7. 42 minutes ago, Tony Newnham said:

    I traced the problem to running mic. cables parallel and close to the main action cable between console & organ chamber ( and that was using quality balanced microphones).  Rerouting the mic cables solved the problem.

    This reminds me of what used to be a famous (infamous?) story of Clitheroe Parish Church. In 1961 Nicholsons did a very extensive rebuild, with the organ in the North gallery and the console in the South gallery. The cable connecting the two went underneath the chancel floor.

    One Christmas, the organ pistons started operating of their own accord when the organ was being played. It turned out that the problem was that the cable to the (flashing) Christmas tree lights was interacting with the organ cable.

    The organ was subsequently destroyed in a fire. I still have - somewhere - the programme for the great Fernando Germani's opening recital.

    Ian


  8. I've given up on the Proms website until they get their act together, but I see that they've timed Widor 5 at 6 minutes and the Franck Trois Pieces at 11 minutes, and goodness knows what the Bax arrangement of BWV 572 is supposed to be, but my bet is that the reference is to an orchestration of it.

    Ian


  9. 15 hours ago, Martin Cooke said:

    I have just caught up with the BBC 1 service from Sheffield Cathedral from Easter morning.  ... Interesting to see the organist wearing headphones to accompany. I can't quite think what the ramifications and effects of this are. Can anyone enlighten me?

    I once wandered into Sheffield Cathedral and found a pianist practising for a lunch-time concert at the same time as an organist was practising (on the digital instrument) into headphones.

    Ian


  10. Sorry to intrude on Advent, but - like in Holy Week - church musicians need to be a bit ahead of the calendar.

     

    I wanted to share a little trick I figured out a few years ago for a Carol Service (or similar) postlude. HW Gray publish a volume of "Seven Trios on Christmas Hymns" by David Lasky. I find all of them useful, though some are based on the tunes used in the USA and the Caribbean rather than the ones we're used to in the UK. However, the third of them is a trio on the regular tune to "Hark The Herald angels sing". Ignore the composers suggested registration and play the left hand on the biggest available reed, with right hand and pedal to balance. At the end, go straight into David Willcocks' Postlude on the same tune, starting at bar 9.

     

    IMHO it works really well.

     

    Best wishes to all.

     

    Ian


  11. The story about the tune - and I have no reason to suspect that it's not true - is that Dearmer took John Ireland out for lunch and showed him the text, saying he wanted a tune for it, and Ireland wrote one there and then on the menu.

     

    Sorry to spoil a good story, but "My song is love unknown" didn't appear in the 1906 English Hymnal.

     

    The Companion to Hymns and Songs (the 1983 British Methodist Hymnal) says that the tune was composed at the request of Geoffrey Shaw for these words in the Publc School Hymn Book (1919).

     

    Ian

×
×
  • Create New...