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Mander Organs

iy45

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Everything posted by iy45

  1. Having heard Mr Binns play (he's the Organ Scholar at Southwark Cathedral), I can say with confidence that it would have to be very tricky indeed to cause him any problems! Ian
  2. James O'Donnell is giving a recital there as part of the St Albans Festival. Monday 13 July, 1pm, music by Prelleur, Purcell, Blow, Pepusch and Charles Wesley. The organ is then being used the following day, morning and afternoon, for the first pair of the Interpretation Competition semi-finals. Ian
  3. iy45

    Youtube

    But since the piece is a transcription by someone or other of something or other by someone or other, does it matter very much? Ian
  4. Please can I have one, too? Ian
  5. I was at Evensong there yesterday. The chap sitting just behind me was wearing a badge that said "Tim Noon". Ian
  6. Philip Many thanks for this. I'll see if anyone has anything more to contribute, then see what I can do about persuing the leads. Ian
  7. The little organ I was writing about is in NPOR at D01993, but that doesn't tell me anything I didn't already know. Information which is produced at the Church says: "The remains of an organ which was once the property of Charles Wesley was presented to the chapel by Mrs LHE Foster of Bromley Common, Kent, in the 1950s. Spurden Rutt & Co. reported that it was a small Songman pipe organ ... The name plate on the organ states that it was made by Jonaman & Broderip ... " If that really is the name on the plate, someone has done a much better job of deciphering it than I'm able to do. The other information on the label is quite legible, though, and says that the organ was repaired by Joseph Walker of 100 High Holborn, in 1820. It would be good if it were possible to unearth evidence that links the organ decisively with Charles Wesley, but I'm mindful of the number of organs that Handel is alleged to have played. (Incidentally, I'm told by someone who knows that Wesley moved into the house in Marylebone after Handel, whose house had been only a few hundred yards away, had died.) If anyone can point me in a useful direction for further enquiry, I'd be very grateful. I wonder, Philip, if you've managed to recall where the "somewhere" with the information about the Wesley house organs is? Best wishes to all Ian
  8. Many thanks to everyone for their help with both the things that I raised. I'll split my response between two posts, one for each topic. Since it was too late to order music for the wedding online, I went up to Chappells in the West End - does anyone else remember going into that building in Wardour Street when it was still Novello's showroom? Unfortunately, they didn't have the Oxford volume in stock, but I found an arrangment of Jesu, joy by Noel Rawsthorne in a couple of Mayhew volumes. The problem I'd had was that I couldn't figure out how to keep the obligato line going during the appearances of the chorale; Rawsthorne solves the problem by leaving out the obligato, which I presume means he thought it was impossible to do what I'd been trying to do. His arrangement works well, though, once you've dealt with the error(?) at bar 2 beat 3 and bar 3 beat 1, which should surely be the same as bars 18 and 19. Again, thanks for your help, folks. Ian
  9. Colin Sadly, this one doesn't work without a sustaining pedal - or enormous hands! Ian
  10. I've just been asked to play for a wedding on Saturday. I'm familiar with the organ so that bit's OK. It's one manual, no pedals, two stops, and is alleged to have been Charles Wesley's house organ. (Incidentally, does anyone know how I might get an educated opinion as to the possible truth of that without spending the sort of money the Church can't afford.) Anyway, Wagner, Mendelssohn and a couple other things that the couple want are in an Elkin album I've had for years - Wedding Album for Manuals, edited and arranged by CH Trevor. Needless to say with that pedigree, the arrangements are good ones and work well. However, the couple also want "Jesu, joy". I've discovered I can sort of bodge it from a piano arrangement, but does anyone know of the sort of quality arrangement that CH Trevor might have made if he'd got round to it. Or perhaps he tried, and found the task impossible. Best wishes Ian
  11. Just a reminder, if one is needed, that Arthur Wills can be heard playing his own and French music at Ely on one of the Great Cathedral Organ series, now happily available on CD. Ian
  12. Paul Yes, I have Volume 1 (the one with Laus Deo, etc.). I see that I used a couple of the pieces as voluntaries in 1980 and haven't played them since, so I'm more than happy to give the volume a good home. In these circumstances, people usually seem to say "Please PM me"; I don't know quite what that means, but I'll find out how to access them so that I can post it to you. Best wishes Ian
  13. iy45

    BWV 564 ending

    I've just heard a performance of BWV 564 in which the player continued pleno all the way to the end, and augmented the last chord with a bottom C on the pedals. I thought it worked rather well, and am wondering if there's any justification for it in the sources. I've found (http://www.analekta.com/en/album/?lagace-bernard-j-s-bach-toccata-adagio-and-fugue-in-c-major-bwv-564-and-other-early-works-vol-2.1263.html) a programme note by Bernard Lagace in which he says "We are accustomed to hearing a conclusion where the different voices gradually dwindle until the end where, with no longer any pedal, descending quavers are discretely punctuated by a final, short chord. I thought it interesting to use here a different version, as is found in one of the work's two sources, where the pedal holds the tonic low C until the last long chord, marked with a fermata", which is rather different to what I heard today. Can anyone out there provide an authoritative answer? Ian
  14. Googling "Saint Patrick's Breastplate organ prelude" turned up a March by Alec Wyton (which seems to be available on Amazon), a prelude by Leo Sowerby, hymn preludes by Vernon Fish and Flor Peeters, and a chorale prelude by Geoffrey Shaw. And there might be more lurking out there on the web. Ian
  15. The number of times I've said to ever-protective and over-officious custodians of organs: "You can't break an organ by playing it". You can, of course, break an organ simply by under-using it. Ian
  16. This is really helpful. Thank you both. Ian
  17. I've recently bought a pair of OrganMaster shoes, and was surprised to discover that the soles are suede, rather than leather. (I see they've now made that a USP in their advert, but it didn't used to be.) Can anyone tell me how long they might be expected to last given, say, eight or ten hours use per week. Also, is it possible to have them re-soled and, if so, with leather or with suede? And how? Advice would be much appreciated. Ian
  18. From the Manchester Cathedral News, July 2103: "Organ Task Group The Organ Task Group has recommended to Chapter that Tickell is the preferred organ builder for a new organ, and has received Chapter approval. Tickell will now be asked to enhance the design somewhat on issue of aesthetics. A visit to the Tickell workshop in Northampton is currently being arranged so that further discussions on case embellishments and structural issues can occur. Further conversations regarding the social outreach projects that could be created around the new Cathedral organ are currently being worked through, with particular reference to children from deprived backgrounds." Ian
  19. I was in Liverpool Cathedral yesterday - a friend was one of three priests who were being installed as Canons. What a happy coincidence that the Mag and Nunc (Weelkes' Sixth Service) both contain a passage where the altos duet in canon! Ian
  20. A very long time ago, I got a trombone-playing friend to reinforce the pedal line of the Widor for a wedding. It seemed to work quite well! Ian
  21. I know one professional player who always swaps hands for that bit. I suspect there may be a lot more of them around. Ian
  22. i) The key signature has three flats. ii) Schweitzer says "The prelude in E flat major ... symbolises godlike majesty". [Albert Schweitzer, J.S.Bach, Vol 1 p.277] iii) Peter Williams notes that the structure has three ideas, and adds that "It has also been seen as a depiction of the Trinity", with the first idea (bars 1-32 painting "majestic, severe Father", the second (bars 32-50) painting "the 'kind Lord'" (Son), and the third (bars 71-98) painting "fluid, incorporeal (Holy Ghost). [Peter Williams, The Organ Music of J Bach, Vol 1 pp. 184-5] Given all the internal evidence that Bach regularly got up to that kind of thing in the Cantatas and elsewhere, it would be a little rash to dismiss such notions out of hand. Ian
  23. I'm sorry about the delay in posting the programme. It's as follows: GEORGE FREDERICK HANDEL (1685 – 1759) arr. W.T Best Overture to the Occasional Oratorio JOHAN SEBASTIAN BACH (1685 – 1750) Chorale Prelude ‘Dies sind die heilgen zehen Gebot’ (BWV 678) JOHAN SEBASTIAN BACH Fantasia and Fugue in C Minor (BWV 537) GEORGE FREDERICK HANDEL “ I know that my redeemer liveth” Emma Penrose: Soprano JOSEPH FIOCCO (1703 – 1741) Arioso, Andante and Allegro PERCY WHITLOCK (1903 -1946 Folk Tune (Five short pieces) Andante Tranquillo (Five short pieces) Toccata (Plymouth Suite) JOAO DE SOUSA CARVALHO (1745 – 1798) Allegro ALEXANDRE GUILMANT (1837 – 1911) March on a theme by Handel SIGFRID KARG-ELERT (1877 – 1933) Nun Danket alle Gott GEORGE THALBEN-BALL (1896 – 1987) Elegy SAMUEL BARBER ( 1910 – 1981) Emma Penrose: Soprano IAIN FARRINGTON (b 1977) Animal Parade Barrel Organ Monkey Hippopotamus Penguins Critics GORDON BALCH NEVIN (1892 – 1943) Will O’ the Wisp WILLIAM WALTON (1902 – 1983) Crown Imperial Hope to see some of you there. Ian
  24. Responding to the suggestion that we might try to re-enliven things on here, a little stir before I go on holiday later today. Is anyone planning on doing anything with "O Tannenbaum" on 3 June? And if so, what? All the best Ian
  25. http://www.npor.org.uk/cgi-bin/Rsearch.cgi?Fn=Rsearch&rec_index=N17533 has been transplanted, with modifications, to All Saints, West Dulwich, Lovelace Road, London SE21 8JY, by David Wells of Liverpool. Stephen Disley will give the inaugural recital on 2nd June at 7.30 pm. Admission £10 (concs. £8). I'll try to post his programme here when I return from holiday in a couple of weeks time. Best wishes Ian
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