john carter
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Posts posted by john carter
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I too found some strange anomalies in the Dover volumes, but there is an equally inexpensive version published by Warner Brothers that appears more up-to-date.Since Dover Publications have produced Widor's complete Symphonies pour Oruge in two volumes (they were around £15.00 each a while ago), there seems little point in messing about with lots of loose sheets.JC
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Some of you will know that I have long had an interest in Holy Trinity, Hull, having been a chorister there in the glory days. I have been privileged to receive a pre-release copy of Paul Derrett’s latest and aptly named Benchmark recording, “The Sleeping Giant.” It’s a wonderful recording of Holy Trinity's stunning 4-manual Compton. (edit)
And what of Paul Derrett’s playing? I found his clarity, expressive technique and registration a sheer joy to hear.
Having received my copy today, I have to agree with Barry and Peter, it's an hour and a quarter of absolute delight! Agreed the organ is not in the best of health, but its distinctive sound can still send a tingle down your spine. Programme and performer are faultless as ever. For those who mourn W****r, the HTH organ is a sufficiently unspoiled representative of its era to make it well worth saving.
JC
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So am I. I'm sure I will have heard worse.Sorry, I take all that back. Rick Wakeman is an amazingly talented organist. His music rivals that of Messiaen, Dupre and Howells. I am looking forward to hearing his interpretation of La Nativite du Seigneur very soon.
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Vox, I'm sure it is unintentional, but these remarks appear distinctly snobbish. Though you may look down on people who don't share your musical taste, his success suggests he does have considerable talent - albeit different from that which you consider worthy.Thirded. Surely the success of people like this owes more to image than talent? I certainly don't see any of the latter here.As for Lee's comment about keeping such people away from Cathedral organs - it reminds me of my unenlightened headmaster of fifty years ago who would not allow jazz to be played on the Bechstein for fear it would be damaged!
Music that brings pleasure to others is always worthwhile, whatever its pedigree.
JC
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Aha, it sounds like a trapped contact wire - as referred to in my earlier post. This is something the tuner should be able to sort out in a few minutes.Unfortunately using div cancel on the swell is not an option - every time you hit a swell piston you get a flash of Hautboy for the duration of the button press.JC
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I have struggled many times with the Compton system where, if you take your foot off the setter piston too quickly, the wires get trapped in the notches. This means you may pass through some surprising, even innovative, combinations on your way to the next setup.I have a setter button on a 1950's console, which uses 1930's Skinner technology to do this, albeit quite slowly and not particularly reliably.I do favour the idea of being able to set up a new combination "blind" on the drawstops - or stop keys - and then call it up on a single "go" piston, especially where there is a registration assistant.
I grew up with second touch cancelling, which is a real help once you have mastered it. This skill is readily achieved by cancelling everything, except the 5 rank Cymbale, at the critical moment - for the second time!
JC
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Huh?
I can think of several other suitable verses in Ps 106 - haven't got psalter to hand, but isn't there, for example, a verse about the earth swallowing up Dathan - but 24?? Am I missing something subtle?
I'm glad I'm not the only one to find this a bit obscure!
JC -
One omission which I found a little surprising was the lack of a 16p reed on the GO. I do remember that the old instrument lost its Contra Tromba in 1978, but it did have the 16p Bombard on the Solo, which did fill the gap between the 8p Posaune and the Pedal reeds - particularly the 32p. There can sometimes be a tonal 'gap' on organs with no strong unenclosed 16p reed, but which have a 32p Pedal reed - for example, St. Peter's, Bournemouth and, to a lesser extent, Chichester Cathedral. Is this due again to a lack of space?
However, there are many points in which, on paper, the scheme scores points over several other recent stop-lists (by a variety of builders). I agree with you regarding a good Gamba. I had our GO Dulciana replaced some years ago by a second-hand Gamba (which was carried down to C1 in open metal pipes). I have never regretted the change, and the stop is used in quite literally every service.
I also note the wealth of flutes of differeing types. I am pleased to see a Harmonic Flute on the Solo - it is good to see these stops returning to favour.
One small regret is that there is no possibility of obtaining flutes at 8p, 2 2/3p and 1p. My own instrument has this on the Positive and the effect is quite beautiful - and particularly useful at Christmas.
I would be interested to learn the intervals of the mixtures at C1 (and, if available, the scheme of breaks) please.
I was further wondering if you had considered adding a transfer stop Choir and GO Exchange (which would be made to reverse the order of the two lowest claviers - and their divisional pistons). This would render such things as the latter part of the Prélude from Duruflé's Suite more easily playable.
The last point - no Pedal Divide?
Sean
Aha, I see M. pcnd would like custard, cream and ice cream with his apple pie (or should that be tarte aux pommes?)! On paper, the menu looks very tempting, though I too am a little surprised that there is no double reed on the GO. However, the proof of the pudding is in the eating.
JC
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I must say I admire Adrian for expending the time to reply to comments on this topic. I agree that we must now look forward and be constructive with our comments. Otherwise Adrian might go the same way as the much missed SJF.
I must say that I look forward to hearing the new organs, especially the first 3CF they will be heard at.
Ed
May I add my thanks to Adrian for his patience in spite of some provocative comment. The information has been very helpful. The loss of something familiar and comfortable is always sad, but it doesn't mean that what replaces it is necessarily worse. I think it is only sensible that we should wait to hear the new instruments rather than pre-judge them.
JC
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Fascinating pictures Adrian. Thank you for posting them.
JC
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One thing that really annoys me is the tiresome bickering between two contributors to this board about the Alexandra Palace organ. I have no doubt they both feel passionately about this instrument, but I wish they would put their toys back in the pram and join us in more productive and interesting discussions about the organ and its music.
JC -
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What a fascinating question!
I really have no idea, but one thing I do know, is that Dr Albert Schweitzer was a regular visitor to the UK and made recordings on British organs; of which I think I have at least one. I'm also fairly certain that it was an HMV recording.
Now I think that would safely pre-date the Geraint Jones series, (of which I still have some mono tapes), because I seem to recall that I was about 12 when I was given, as a Christmas Gift, that Schweitzer recording, whereas I seem to recall that I was about 15 or 16 when the BBC broadcasts by Geraint Jones were broadcast; making it about 1965/6 at a rough guess.
I'll give it more thought, but I'll hazard a guess and suggest that this is the link, and also, that I believe Schweitzer was a regular visitor to America, was he not?
MM
I agree, a most interesting question. I would have thought the early recordings by Helmut Walcha, starting in 1947, were the strongest influence. I remember how inspired I was at the freshness and clarity of the Schnitger organs in Cappel and Lübeck, that seemed to bring out so much more from the music than the recordings we had previously heard. On a more trivial point, it was also much easier to travel from England to the towns of Northern Germany and the Netherlands than some other regions at that time.
JC
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And in case you are unaware, the "I've had loads of private emails that support me" claim is not generally respected in cyberspace.
Michael
This corner of cyberspace certainly respects David's words. Indeed, I greatly value his open and forthright contributions. I hope, Michael, you are not implying that he is not being honest in this claim?
I had resolved to stay out of this discussion as I don't want to appear opposed in principle to Hauptwerk, indeed I think it produces excellent results. But, in my previous contributions on this subject I have tried to imply, without being too direct, that I feel the "sales pitch" is inappropriate for our host's site. This is no longer software for the amateur computer user, it is a professional product that must stand on its own merits. As for the bells and whistles - they are certainly nothing to do with music.
JC
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Message deleted.
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I was going to say I heard an unforgettable Franck Chorale I played by Germani in St Pauls.
I've also been listening again to my 1967 Selby Abbey Germani recording of the Chorales - they are well worth listening to - and the organ sounds fantastic - very convincing and musical sound!
Quite so, Douglas. It was Germani who first fired my interest in Franck Choral No 1 - in my case at Langham Place. Still remembering it after almost fifty years, it must have made quite an impression at the time and it introduced me to a composer whose works have given me great pleasure ever since.
JC
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I would agree that an antiphonal division would work best for congregational singing. One such example is St. James Cathedral in Toronto. Although this cathedral is on a smaller scale than most English cathedrals, it is still large, measuring 200 ft (61 m) long, 84 ft (26 m) high and 98 ft (30 m) wide at the porches.
Playing the cathedral organ, if the instruments tells you the antiphonal division is engaged, you have to assume that it is playing, because you won't hear it for another five seconds, long after the other divisions have finished.
If the speed of sound is 1100 feet per second, I think five seconds is a bit of an exaggeration, though I accept the point you are making. Why not install a microphone in the antiphonal division to feed a near field monitor speaker at the console to assist the organist? Provided it is closely positioned, it need not disturb anyone else.
QUOTE(Nigel ALLCOAT @ Feb 3 2007, 11:57 AM)
If an instrument cannot be considered to be built mechanically then I believe we are allowing make-believe and dreaming to become a nightmare. And more so for the next generation who will have the task of funding it. If a congregation (for about 5 hymns in a service) require such an instrument, we have got most things out of proportion, I think. Just relay the music as best you can through the speakers (PA system). They will join in - or arrive earlier the next time to get a seat nearer the action.
Sorry to disagree with Nigel, but the congregation are the paying customers. If the problem lies at the console then that's where to solve it rather than adopting the organist's ideal solution at the expense of others.
JC
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I wonder "what turns people on" musically?
I'm looking for those "creeping flesh" moments, when everything which has gone before seems second-best.
It can cross all boundaries and all styles of music, so it's really very easy, isn't it?
Thomas Daniel Schlee, rehearsing for a concert in Zürich Fraumünster, unaware that my late sister and I were present and believing that the titulaire, Alex Hug, was his only listener. Without the pressure of it being a public performance, he played through the 20th Century French programme with inspiration and passion - simply stunning. We just slipped quietly away at the end. Known more as a composer and director of various music festivals in Austria, Schlee is an outstanding organist. A pupil of Langlais and, I believe, Messaien. Nice organ too - 4P/92 with a separate 2P choir organ driveable from the main console. Currently being refurbished during the restoration of the church interior, which has wonderful stained glass by Chagall and Giacometti.
JC
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Ugh, the last chord of the Alain sounded horrible. Why did he have to use everything for it?
I don't think "dolce" exactly describes that part of the score. Good on him! I'd do the same.
JC
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I spent some time last weekend listening to some recordings of the Franck Priere - but couldn't find anything I felt really hit the spot. It's an amazing piece IMO, but difficult to bring off convincingly (along with a lot of Franck). I have Sanger, Rubsam, LeBrun complete sets - all good performances, but somehow lacking something.
JJK
Dear JJK,
I think the choice depends on what you feel is lacking in those performances of Prière. For me, they are too calm, almost to the point where they become ponderous. Having recently gone through a period where my prayers were filled with despair and grief, my own interpretation is much more turbulent and emotional and the recent Pierre Pincemaille recording comes closest to my ideal. Some may feel it is a little rushed in places but towards the end of the piece I find it almost unbearably poignant. PP does not follow the clearly marked registrations, but St. Sernin 2006 is not Ste.Clotilde 1860, and in this case I believe the lighter textures are beneficial. It may not suit the purist, but I believe it is well worth hearing, preferably more than once, to appreciate its qualities.
John
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I know that these discussion topics frequently wander off down unexpected paths, but surely this one takes the biscuit. Organ anoracks may be sad people, but who in their right mind wants to read endless postings about keyboard shortcuts?
Please get back on topic or let it die.
Sorry Neil, partly my fault. But it has been a useful conversation.
JC
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Failing that, a search for 'charmap' will find several entries. Look for the application, right-click, and place a shortcut on Desktop.
You also have to have the application loaded from the Windows CD in the first place - which I didn't. I have these occasional "tidying-up" sessions where I get rid of things I'm not using and I must have inadvertently removed the character map at the same time. As a wise computer professional once told me, "Do you prefer a tidy computer - or one that works?" It rather reminds me of the thread about tidy organ lofts!
John C
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Thanks, folks.
John, the actual file is called charmap.exe. Try searching for that.
Thank you Vox,
I've found it and all's well. I can now get rid of the scrappy bit of paper on my desk!
John C
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Start | Programs | Accessories | System Tools
A quick shortcut for acute accents only is "Alt Gr" + the letter.
Paul
Paul,
I too usually use the ASCII codes; the character map would be more helpful but I can't find it where you have suggested, nor does a search on "character map" produce anything. Any ideas? Nothing unusual on my system: XP Home, MS Office and IE7.
John C
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...being offered mulled wine and mince pies from a silver tray, whilst playing the outgoing voluntary for service of lessons and carols.
Yes, the service had ended with rousing singing of Hark the Herald, final blessing from the boss and away I go into Vierne C de W. I have a page-turner on my right. As the theme enters in the pedals for the first time, I become aware of a silver tray proffered toward me from the left, held above the left jamb of the console. Speechless (well, I'm not clever enough to talk and play at the same time) I press on, hoping against hope that the tray will withdraw. After almost a full minute it finally disappeared, the holder presumably assuming that I wish to abstain.
I still can't believe anyone could be so -------- daft.
Bah humbug.
H
Come now, surely you could have managed a mince pie in bar 63? It would need to be offered from the right hand side though!
JC
JC
JC
Staff Appraisals
in General discussion
Posted
Nigel, you have a wonderful way with words as well as music! You have gone right to the heart of the issue.
John C