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vamathou

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About vamathou

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  1. If you might ever aspire to be DoM anywhere that expects the ability to conduct an orchestra, the knack - which is one of the easier ones to acquire - could be worth having documented. Bassoon and tenor trombone players in particular are adept at sensing out any uncertainty about which notes the blobs on the score really mean.
  2. I agree. The idea that only card-carrying academics should have access to knowledge is corrosive and contrary to the ideals of academia ; these people - unless they are in the University of Buckingham - survive at my expense on my taxes and their tom-catting invites the question whether they offer (any) value-for-money.
  3. Amongst the recurrent themes in this forum, two are neatly illustrated here: one is the managerial relationship between the musical and clerical functions; the other is the administrative implementation of that relationship. Is the managerial relationship to be one of master and servant or a partnership between professionals, each heeding the other's proper interests and concerns? Either could be arguably appropriate. What is nonsensical is for there to be any doubt or potential for misunderstanding that is not resolved at the time of appointment and set out in the letter of appointment. E
  4. Many thanks: your reply could hardly be more helpful. One problem I have with Moore's book is that the index lists only proper names of people and bodies etc, so it's difficult, without a great deal of searching in the text, to find (if it's there at all) information of the sort you have provided .
  5. Tin (the element) exists in two forms or allomorphs: one the shiny metal; the other a greyish powder. This may be the explanation of your problem, which has been reported frequently in organs and electronic equipment. At low temperatures the transition to the grey form is favoured, so you could be right in speculating that cold is to blame. It's nothing to do with oxidation. If you google 'grey tin' you will find all sorts of information. An expert metallugist may be able to explain why some organ pipes of tin seem to have survived unscathed many years of occasional exposure to temperatur
  6. The arrangement by Gordon Jacob presumably. I think it does far more than work well: it's marvellous. Jacob's orchestration does not attempt to replicate an Elgarian texture, and (e.g.) uses woodwind in a most unelgarian way to bring out lines of counterpoint that simply do not emerge from the original score, to my eye at least, or from performances on the organ. Although I love the original, I think the orchestral version is actually a different and greater work. I'm inclined to question whether Elgar conceived the sonata in orchestral terms. It was a specific commission and came at a
  7. The AGO model specification for consoles states that 'Manuals may slope towards Great or be level.' The illustrative drawing shows a three manual console, with the bottom manual sloping downwards away from the player, the middle one being level, and the top one sloping downwards towards the player. In other words the statement is apparently intended literally. Surprising but logical enough, although I've certainly never consciously noted a bottom manual sloping. The slopes shown are only 5 degrees, so far as I can measure from the drawing. Presumably, the intention is to help keep the low
  8. Sir Waldron Smithers, for many years Conservative MP for (I think) Orpington in Kent, was organist for getting on for 50 years at St Katherine's, Knockholt.
  9. I don't doubt you are correct. My apologies for relying on a failing memory and not taking the effort to dig out a recording I bought when I made an unsuccessful effort to find out why some people esteem Howells: I'm afraid I regard having one copy of something by him as a misfortune; to have two, as you seem to have, might be regarded as carelessness. Regards.
  10. The groundrules laid down by the moderators of M. Lauwer's forum are appropriate to a serious, scholarly purpose. I guess that, if the same groundrules were to be applied by this present forum's moderator, perhaps 95% or so of the material would instantly disappear. But then I don't think that this admirable and worthwhile forum aspires to scholarship. It should nonetheless be possible to pursue a serious line of debate without its being disrupted by digressions (which, if important to those who start the hares running, should be used to start other threads) or by the equivalent of the beha
  11. Not so far as I am concerned; the thread started facetiously (incidentally, Howell's anthem is 'Here is the Door' isn't it, which makes the joke just a little better), so I expected nothing more of it. What is irritating is when a serious discussion is disrupted. Until recently, I was a member of a charity's management committee, whose then chairman was capable of finding, and snorting and sniggering at, a double entendre in almost any form of words. I suggested that a routine item on the agenda, after apologies etc, should be 'Adolescent smut', so that he and those of like mind could then
  12. Richard Ingrams (of 'Private Eye' and 'The Oldie') is 'a part-time organist of many years standing (or sitting)' at his local church. If musicians celebrated for reasons other than being organists are eligible: Sir Andrew Davies, Sir Peter Pears (both were Oxbridge organ scholars) and Denis Brain (who played the organ in the Philharmonia/Karajan recording of Mascagni's Easter Hymn). Fictional celebrities: Captain Nemo and ('Under the Greenwood Tree') Fancy Day. Regards.
  13. Liszt said that the organ (not any particular one) was the pope of instruments. So I suppose the reference to the St George's Hall organ meant that it was the capo di capi. Regards.
  14. Roger Molyneux (see www.organmusic.org.uk/Cat0406.pdf ) lists a new copy for £6.50. Regards.
  15. Elvin notes that Compton went to King Edward's School, Birmingham (and was head boy). Regards.
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