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Martin Cooke

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About Martin Cooke

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  1. I think this is truly shocking. Why would anyone install a pipe organ of this type ever again if they knew that within a few years they would also need a digital instrument to perform the basic functions for which a church possesses an organ?
  2. I understand, but nobody did give their right arm for it and so, this is what has happened. I fear that we are going to see much more of this as time goes on. There are just so many pipe organs out there in churches and chapels that nobody is wanting to attend anymore that it is inevitable that these buildings will be sold or demolished, and their pipe organs disposed of. And many of these instruments have nobody to play them, even if they had more than two or three to hear them being played.
  3. I know this is contentious, but looking at the photos and details on the NPOR link, is this really such a loss? The pictures don't give me the impression that this is a well-loved instrument.
  4. Whilst we're not mentioning digital options, folk may be interested in the article on the Viscount UK website about the organ at St Bride's, Fleet Street, that has suffered from a lightening strike. This is the third lightening strike on a pipe organ that I have heard of - Llandaff (before the new instrument) - Salisbury in 2018, and now St Bride's. (a) are such things more common than that, and... (b) what can be done to prevent such damage?
  5. Just wondering if anyone can relate what recent work has been carried out on the Metzler. I happened to see a very enthusiastic tweet from David Hill who was clearly much impressed with some recent improvements.
  6. The other Hurford pieces to look out for are the Chorale Preludes - all of them have their uses - and you can't always say that. I had a number of enquiries after the service today about the Rebecca Groom te Velde Minuet and Trio based on The Three Kings. It is in the Epiphany volume in the OUP Hymn Settings for Organists series. My other contributions today included the Buxtehude Chorale Fantasia on Wie schön leuchtet (from OUP Christmas Album) and an arrangement of the Cornelius originally published by Basil Ramsay. And then, as the concluding voluntary I played the Postlude on Was Lebet by Chris Tambling (from the Epiphany album mentioned above.)
  7. Yes, it is Meditation and it is a real gem. A good, mysterious piece for communion, too.
  8. Welcome back! Are you going to tell us what you have chosen to play? I took Grade 8 in 1974 and played JSB, Prelude in G major, BWV 541, Flor Peeters' Aria, and Peter Hurford's Dialogue in G major. I don't think the Peeters was worthy of Grade 8 - more 6, I would have thought. Anyway, in those days there were no scales for organ Grade 8, but you did have to do a pedal exercise, sight reading and transposition of a hymn tune. I managed a low Distinction. The Aria was very popular and well-known at one time but it seems to pop up less frequently now. The Hurford Dialogues are both, in my view, excellent short pieces and I must work them up again. Not sure if Hurford's Suite Laudate Dominum is used by anyone now. There are some very good movements in that.
  9. Not sure if it was Winchester, but MN certainly has a DMus from Southampton... but also a Lambeth one.
  10. That would be most fitting but we all know how things have changed as far as honours go for church musicians. Having said that, he has a CBE already which is richly deserved. I'm saddened that the Archbishop of Canterbury appears to have shelved Lambeth degrees. Plenty of esteemed and long serving cathedral musicians have been awarded DMus as a Lambeth degree upon their retirement - think Martin Neary, John Birch, et al. James Lancelot wasn't, despite his huge period of prodigious service at Durham and Winchester. It also seems a great shame that Cambridge has not awarded Stephen a DMus, but perhaps they intend to do so next year. I live in hope.
  11. We have the mighty Crib Service on Christmas Eve afternoon - I shall play a range of music before hand based on Christmas carols including things like Ireland's The Holy Boy, Thiman's Postlude on Adeste Fideles, some of the Lloyd Webber Christmas improvisations, and some Rawsthorne from his album, The Holly and the Ivy, etc. Afterwards I'm going for the Lefébure-Wély Sortie in E flat. At Midnight, I shall play the 9/8 C major Bach as the main pre-service offering, and then the A major In dulci, and Pièce d'Orgue afterwards.
  12. There are some transcriptions of one or two movements from Bach's Christmas Oratorio in various OUP albums which you would enjoy, too.
  13. I agree. And in any case, a 16ft oboe is no match for a decent swell trumpet. And no 16ft tone on the Great on a large instrument such as this? And no solo Clarinet?
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