Martin Cooke

I think these nave divisions need very careful handling especially by visiting organists. I had a pretty excruciating experience at Lichfield attending a service which was accompanied by a local organist rather than a resident organist and there was no thought given to any varying of the registration in the hymns at all - I think they have a particularly large nave division at Lichfield - and it was awful. I think the main issue arises when the nave organ obliterates the sound of the main organ. (Actually, on the Lichfield occasion, I am sure the chappie had forgotten all about the nave being in use at all as it was possible to discern mild changes in registration from verse to verse on the main organ.) I have always rather enjoyed playing on stops that are in distant and remote parts of the building (the Dearnley influence at St Paul's) but it is all too easy to forget, listening to the distant echo that the sounds can be pretty powerful closer at hand.

The Trompette Militaire was installed in the Minstrels' Gallery in 1965. When the nave chorus was installed about 8/10 years ago, the TM was renamed Trompette. I have never actually heard it except in Andrew Millington's DVD when, of course, it sounded rather distant. Can any describe it? And thinking of cathedral organs and Harrisons, I note from their website that at least part of the Durham organ is in the workshop. There is a picture of the 'choir action.' Does anyone know what the scope of the current work is there? Martin.

Thank you so much for going to all this trouble, Friedrich - all most helpful and illuminating. All the best; Martin.

I happened to come across volume 2 of 'Opera Selecto pro Organo' in a pile of my own music yesterday and I wonder if anyone can tell me a bit about what it's all about. 'Battala Imperial' - for example. What is a Battala meant to be, what registration is expected? Do audiences appreciate this piece? etc! I must admit that I have never really found early Spanish organ music very attractive but I don't know very much! I play the José Lidon piece and a couple of other items from that Silva Iberica volume, and I have just found the Cabanilles, and then there are some sporadic (and rather dull to my mind) movements that CH Trevor popped into his various volumes in the 70's - you know, Organ Book 1-6. Should I be persevering?

Good to see your splendid photos, pcnd, and to be reminded of your own website via the second photo. I enjoyed the Cornwall photos too - I played at St John's Penzance with an old friend of David Drinkell's - Ian Sadler, in about 1974. A whopping sound if I remember correctly. There's another huge organ in Penzance at the methodist church in Chapel Street? Have you been there? St Mary's has got a Lance Foy re-cast of an organ from Oxford (?) following the devastating fire in about 1984/85. Are plans coming together for your organ - it must be due for some work - perhaps a PM would be good if you cannot broadcast details yet!

Mmm... have pinned down a score of Alba which I have sent for - (another self-awarded late Christmas present) - but can't find a recording on itunes of it or of the Orchestral Concerto. Have dabbled in lots of other lovely things of his on the way. Super piano duets for children, for example, but I don't think I had grasped just how prolific he was - concertos, etc.

I agree, entirely, pcnd - and well remember the movement from MotOE being used in the very first GCSE Music exam that I had prepared candidates for. It was the first time I had come across. There are also some excellent sets of short songs which go down very well with junior choirs - I'm thinking of The Aviary and Insect World - they crop up, or used to crop up in the early Singing ABRSM exams. I'm correct in thinking there isn't a solitary piece of organ music? There is quite a wealth of church music (Missa Brevis) some carols etc, none of which I am aware of knowing. I wonder if any piano music would transcribe to the organ? I once came across a piece of Bartok in the C list of ABRSM piano Grade V which I have dabbled with as an organ piece from time to time. Ah! Back to RR-B - just checked Henderson and, of course, there's 'Alba' - published by Novello in 1973. It says that this is based upon a theme from Benjamin Britten and that it is the same music as the Aubade from RR-B's Orchestral Concerto. I don't know it but am going to find it!

Just to be clear - despite all outward appearance, Drs Jackson and Neary are both wearing Oxford robes. Good to see the photo of Alfred Brendel - he appears to be on his way to a CAMBRIDGE ceremony - the person pushing him is wearing Cambridge PhD robes. (The dark cherry shade silk in his DMus robe is the same as that in Stephen Cleobury's MusB hood which is where this all began!!) The shape and style of the sleeves of doctoral full dress gowns is different at Oxford and Cambridge too.

... organists in the New Year's Honours? It looks like zero to me! But, excellent to see an organ builder - Trevor Tipple - included. Couldn't the folk at the abbey or St Paul's have been thought about after those wonderful services in the last two years?

The other thing is age - (of the dress, not the wearer!). Some of these garments have been handed down from such luminaries as Howells and Thalben-Ball. I think John Birch wore one or the other.

Yes, I was thinking it was high time that SC was given an honorary MusD by the university but your point explains it - afterall - most dons are going to be eminent in their field but not all will get the public exposure that a musician does. He could, of course, get a Lambeth DMus - I think the present archbishop has used Oxford robes for this lately judging by the photos one has seen of folk like Francis Jackson and Martin Neary.

No, not a replacement for the grand organ, but BBC Music Magazine announces in the January issue that the Lord Mayor of London is presenting a new Mander Organs two manual organ to the abbey to be located in lady chapel. It is planned that it should be ready by Christmas next year but it will first be installed in the Mansion House for a number of fund-raising recitals. Sorry if this is old news - certainly a new one on me!

He holds an honorary DMus degree from Anglia Ruskin University but I don't think that at Oxford and Cambridge you are allowed to wear academical dress from other universities - afterall, he could wear an FRCO hood. [i am not precisely certain of the rules but it is something along the lines I have suggested.**] Over the past however long it is, he has also worn his Cambridge MA hood for the broadcast service. On one occasion, because 'continuity' wasn't set up quite right - he appeared in part of the service wearing a hood and yet didn't have it on during another part - they must have had to do some re-takes. [** I am not certain whether this is possible any more but in the 'old days' a Cambridge graduate going to work at Oxford could 'incorporate' their degree so that they could wear an Oxford MA hood, for example, even though their degree was from Cambridge. Canon John Collins - the Aldermaston Marches chap and Canon of St Paul's in the 50's-70's did this. He always wore his Oxford MA hood at St Paul's and his original Cambridge MA hood appeared only once in the five years I was there - at the opening of the new choir school in New Change in ?1968.] Hopefully another contributor can explain all this with a few more facts and correct info!

I haven't listened to the whole service but enjoyed the Ledger tributes - I've always like his descants - and I liked Good Christians - published by Encore publications, by the way. Good to see that someone had sorted out Stephen Cleobury's MusB hood! He's been wearing it back to front and inside out in recent years - didn't wear it at all last year!

I have played for four carol services - I played the A major In dulci jubilo chorale prelude each time and then (1) Festival Toccata - Fletcher; (2) Fantasia in G - JSB; (3) Toccata & Fugue in D minor (565) - JSB;(4) Sortie in E flat - Lefébure Wely.

Yes, I'm not seriously against 'Sir Christemas', indeed, I used to love it as a youngster - (ah! perhaps that's it, and it's a choristers' favourite!) - but I do feel there are better carols that have been written in the last 40 years since it was published - including his own 'A babe is born.'

Is it just me or is it all really rather dull and dreary? Who on earth wants to sing Sir Christemas in this day and age when so many fabulous new carols have come on scene since those days? Do we really need Away in a manger? There are some highlights of course but not too many, I'm afraid - dull as a ditch!

Thanks for this - I have been looking forward to seeing what is to be included this year, but I can't make your link work, unfortunately. Good to see the Ledger descants being used - the one on O Come, all ye faithful has been augmented in Carols for Choirs 5 by adding an extra descant for verse 7 - (Yea, Lord, we greet thee).

Does anyone play any music by this chap? He was most prolific, of course, but I am not sure if anything except the two Benedictuses - (ugh!) - survive. I do use a couple of chorale preludes - Crimond, comes to mind - and have recently downloaded the Heroic Suite from University of Rochester site. Among other extraordinary pieces on this site is a suite by R. S. Stoughton called 'In India.' If you're looking for something quite different. There is also 'Tales from Arabian Nights,' which includes a movement called 'Ali Baba and the Forty Thieves,' and another 'Persian suite.' Might provide from bank holiday amusement!

Some recent additions to my repertoire (or, at least, the cupboard) are Gospel Colours 1 by Martin How, 'The Royal Standard' by Malcolm Archer, and Toccata Militaire by Higgs. I'm sure some fellow members have come across these. The Archer and the Higgs are very playable - grade 5/6 - and I think it's fair to say that all except the most esoteric audiences or congregations would enjoy them. I wouldn't say that either is startlingly new but I can see myself happily using them. The How volume is absolutely first class and there is so much to learn from it. For students learning improvisation, composition and harmony, these superbly crafted short pieces would repay some careful thought and analysis and I have found 11 of the 14 of them very compelling. I know that I am going to really enjoy working them up, getting my hands around them and learning from them. They will work happily on organs of all sizes. Do get them - RSCM. If I haven't already mentioned it, you may have seen Archer's 'Lancaster Suite' advertised - this is worth having - I haven't got it to hand, but this does say something new especially in the inner movements which together with the first lie well under the hands - (sorry - I haven't the score with me at home so can't be detailed) - whilst the last movement needs a bit of work with the fingering! PS - If you haven't already followed my previous recommendation to get the two volumes of Hymn Miniatures by Rebecca Groom de Velde (OUP) then don't forget. My other tip is the volume of organ music by Christopher Tambling published by Dr J Butz in Bonn - each and every piece a winner in every sense and not over difficult at all - grade 5/6 with tinges of 7 just occasionally.

I couldn't agree less. This sounds completely manic and is in every way the least attractive recording of the Dupre B major that I have ever heard. His manual and pedal dexterity is extraordinary, however, and I would love to be able top play laf as well.

The Sheet Music Warehouse (here) has Three Voluntaries by Kitson but doesn't list what they are. Might be worth contacting them for further info. I have a mass of Victorian organ music - I won't promise to go through it all but will certainly keen my eye open when I'm next rummaging about. Martin.

There is some free sheet music by Ludo G himself here including another Toccata which might repay a little perusal.

I have played this piece for years. It was a favourite of Harry Gabb's and it popped up a lot on a Saturday afternoon at St Paul's when he used to be in charge. I remember him playing it to the choristers at the end of a Saturday afternoon practice, on the piano. One of us was pressed into playing the pedal part. Anyway, what's the 'business' about the little coda section that some performers stitch on to the end of the OUP printed version. I am sure that HG developed a habit of doing this, and didn't Noel Rawsthorne also do it on the old Toccata LP of his? Is this how it appears in the other published version of this piece... am I correct in thinking it is the last of Three Pieces?... AND... if so, what are the other pieces like? [Am I alone in feeling slight irritation that when posting a genuine thought or query, answers or follow-ups are frequently completely off-topic? - I fully expect responses to this genuine query to go off on a ramble covering every other Toccata known to man, and really, I'd just love to know the answers to the above!!]

Have you discovered [a] David Halls' DVD from Salisbury Cathedral (Priory) and therefore his Salisbury Fanfare and finally [c] the Paraclete Press? David Halls' stuff is well worth exploring - the Fanfare is over in a flash but it's interesting, playable and very effective. The Paraclete website is well worth visiting - you can actually print off whole scores from it including other music by DH - Sound the Trumpet, for example. Worth a look!