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themythes

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About themythes

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  1. At very long last I feel that I do have something of possible interest to add to the profound and erudite discussions in this splendid forum; it is good to have returned from the brain dead. I write to recall that during a lesson with Ralph Downes at the RCM he told me that while planning the design of the organ to be built in the RFH he looked over the Albert Hall instrument and the quality of the H and H work convinced him that they should be the builders for the the new RFH organ. I like the 'flight' story: it reminds me of the time, many years ago, when on Radio 3 an LP of music
  2. In reply to Wolsey's note of 10th April : Sorry to be rather 'en retard' with this response but I've been away and have only recently managed to prise an answer out of Lucasorg. The 'moth fretting a garment' effect was realised by drawing all the tremulants on a general piston without any notes being played. Now ya know. I enquired further of Lucasorg as to whether there were any other 'effects' and whether they were suitable for sharing; there were and they weren't. David Harrison
  3. I have been asked by Carlo's manager, Paul Vaughan, to add the following announcement. David Harrison CARLO CURLEY BBC Radio 4 “Last Word” I have been advised by BBC Radio 4 that the edition of “Last Word” which will include a feature on Carlo will be broadcast on Friday 31st August from 4.00pm Paul Vaughan
  4. I have been asked by Paul Vaughan, Carlo Curley’s manager, to reproduce here the announcement which he has issued in respect of Carlo’s obsequies. It should be stressed here that Mr Vaughan has been recognised officially and legally as Carlo’s representative in these matters and that messages that may appear in other media and which do not appear to tally with Mr Vaughan’s statement are, therefore, not official and may be viewed accordingly. “The funeral arrangements for the late Carlo Curley are properly in the hands of Paul Vaughan, who was his manager for more than thirty years, and Car
  5. I am aware that this thread last drew breath in late June but I have been unable to post for some months owing to various mental aberrations on my part and I have only just now managed to come up for air and shout (successfully) for help. Here I must record my thanks to a fellow board member who helped with some technical problems and also encouraged me to see it through at a time when I was all for hanging up my boxing gloves and skis for good. I have been much intrigued by the various posts on this subject and I fear that I can add nothing sensibly useful to the arguments already set ou
  6. Some ten years ago my church PCC decided to send our greatly loved and deeply cherished Hymns Old and New to the everlasting bonfire and, for its replacement, they whittled down their final selection to CP and NEH. I perused both books carefully with a choirmaster friend and we both came to the conclusion that Common Praise probably had it just by a short head. NEH seems more suited to those churches that tend toward Anglo Catholicism, which we do not. All of which is my long winded way of saying that IMO David Drinkell has got it spot on. David Harrison
  7. I imagine that all of us can recall some embarrassing moments when we first started out as church organists. It wasn’t my first service but I was only 10 or 11 and organist of a village church near Salisbury; I had been in post a little while and I should, by then, have been accustomed to the problems of Roman numerals (the dreaded Black Psalter) but somehow I misread the number of the Psalm; it should have been LXV but I had got the wrong one. Harvest Festival, packed church, no choir and the congregation in disarray trying to work out what pointing I was offering them. It was then that I re
  8. I am advised by a relative who is a Learning Support specialist that this is a speech and language problem; I expect that John Erskine has already directed you in the right direction. David Harrison
  9. This is going a bit off topic, but I can't resist a response to MM's most entertaining post. The film to which you refer is "Raising the Wind"; it's a Carry On film in all but name with most of the usual regulars including a marvellous contribution from the incomparable Kenneth Williams who was trying to conduct the William Tell Overture for a competition prize. Both incidental music and the script were written by Bruce Montgomery who, as well as writing music was an author of crime novels, my favourite being "Holy Disorders", required reading for any organist/choirmaster. No spoilers
  10. MM has, as usual, given us well thought out responses in this topic. His knowledge of the history of church music of all denominations, especially in his own home area is, clearly, extensive. I feel confident that we can award him a Thoroughly Honourable Doctorate. It is obvious that the influence of Hook and the free churches in the earlier half of the nineteenth centuries played an important part in the growth of singing in the north. I wonder how much of this revival affected areas further south. In respect of the "targets" in this topic it will be noted that it was headed "The Angl
  11. Further thoughts have been going through my mind since this topic was first raised. Perhaps, when I set out suggestions for information about parish church choirs and the extent to which the traditions of the past have been continued, I should have included the many fine school choirs which often reach a very high standard indeed. This is especially true of the independent sector where many of the boarding schools maintain a firm link with both the Churches of England and Rome and their service patterns and traditions. In my last (preparatory) school, the proximity of Heathrow meant t
  12. This is a fascinating subject that Vox Humana has raised. Leeds Parish Church and S.S Wesley certainly were beacons of light in the murk of English Church music which we find in the first half of the nineteenth century. Even the cathedrals were not above reproach at this time and the work of Maria Hackett will be known to many of us here; her book "A Brief Account of Cathedral and Collegiate Schools" spells out graphically the unsatisfactory state of choristers’ lives. Clearly the revival, as Vox proposes, began in earnest with the Oxford Movement with the number of choral settings of the
  13. Somewhat after the event: but what was the result of your research, Vox? David Harrison
  14. Quoting a distinguished cathedral organist known both to Vox and me : the purpose of the church is to keep the rain off the organ. David Harrison
  15. Yes, I did read it, but it occurred to me that the correspondent whose post I quoted might not have had the correct name offered him. Obviously you have read the article which refers to the Abbey sacking a composer. There might well have been a touch of misunderstanding all round here. Anyway, we await the news of Mr Vinnie’s replacement and his destination. David Harrison
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