john carter
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Posts posted by john carter
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Most English Universities offer a PhD, but not a DMus. Although very few offer DMus in comparison to those who offer PhD, DMus is accepted as the "higher" Doctorate of the two. I wouldn't mind having either!
Or both!
The thing is, it wouldn't make a scrap of difference if you did. I don't study the organist's credentials when choosing to attend a recital, just whether he or she can play. I would hope those who select candidates for senior positions in "the industry" also put musical ability and interpersonal skills before paper qualifications.
JC
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Indeed. Get well soon, Vox. You are in our thoughts.
John C
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Well, I was wondering whether I might prefer a Basson-Hautbois 8' in place of the Clairon and perhaps I might want the GO Bourdon available on the Pedals, but I could live with this little gem very easily.
Have you been reading my mind again? Those are just the thoughts I had after clicking the send button.
JC
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Much as I can enjoy the kind of organs which started this thread, for multum in parvo organ building, Cavaille-Coll takes some beating. No-one suggested this as a possible stop-list:
http://lammert.boeve.org/site4.html
To briefly translate some of the Dutch, all the pipes are on one windchest, and almost all are enclosed. Note the lack of pedal stops, but remember that even in C-C's slightly larger organs (often of 20 or even more stops) the pedal stops are often all borrowed anyway. I have played the organ in the link, its extraordinary. It was sold by some monks in Antwerp who'd had it for nearly a century, because they wanted something neo-baroque.....
OK, this organ has 9 stops, but my memory is that the Clairon is a later addition (it is operated from a pedal next to the swell box).
Greetings
Bazuin
Extraordinary... and delightful. What more could you want in eight stops? That is a real treasure.
JC
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I have to say that I am in two minds here.
I have no doubt that most, if not all, organists and others like myself who have an interest in the organ regard Dr Jackson most highly and believe that he is definitely deserving of such recognition (KBE). If a petition were to be organised, I would certainly add my name.
On the other hand, you may call me cynical but, for the reasons mentioned above, I think that the Honours system is becoming increasingly meaningless. Moreover, although I don't know him personally, I suspect that Dr Jackson is not the sort of person who yearns for such rewards. I think the love and respect of all who have encountered him should be enough.
John
As I indicated earlier, FJ's CBE is not meaningless at all. There are very few in the land who achieve this recognition. I am sure Dr Jackson is well pleased with his award, personally signed by Her Majesty. Please don't make out that a Knighthood is the only thing that will do.
JC
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Does it strike anyone else as morally bankrupt that civil servants can get knighthoods just for doing the job they are paid to do while people such as FJ, whose contribution to society has been far above the call of duty and far more appreciated, are simply ignored?
No. Civil servants do not get knighthoods or any other honour "just for doing the job they are paid for". They have to make a specific and outstanding contribution to do so. The lines of communication for those who sponsor them are perhaps more direct but these honours are not granted on a whim.
Nevertheless, I agree that Francis Jackson is worthy of greater recognition than he has so far received, though we must not overlook the fact that the CBE is a very high honour indeed. If anyone is aware of a cabinet member who has a musical background, even better an organist, then that is the person to lobby.
JC
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I have to agree that the mere look of CC (as shown in the New York Video) puts me off, but no doubt many more people have said the same about me - I look about as appealing as Kenneth Clarke, even when scrubbed up and presented in my best Sunday suit!
I think we should all shut up on the subject of both CC and CC (Messrs Curley and Carpenter) and go away and practice! I have never seen a more prodigious talent, speaking in terms of technique and as for the musical expression, I agree with MM, that may or may not come with time. There is something in our instincts that tells us when we see something so incredible that we should find something else to moan about. Can you play like that, no...and neither can I. I haven't got the stamina to practice for as many hours as this (very) young man obviously does. Well, good luck to him.
He is in the right country for a stunning technique (and a spectacular standard of preparation) to make him a star. Of course we find this uncomfortable, we're British for God's sake and we have heroes like Eddie 'The Eagle' Edwards.
I can think of something else for us to talk about and will start a rival topic immediately.
You just beat me to it by a couple of minutes, Paul. Well said! We are talking about the entertainment industry here. I was far more put off by Nigel Kennedy's bizarre outfit playing Elgar at the Proms, accentuating points by stamping the floor with his size ten boots. Mind you, I also recall a prodigious young and tall French organist who played at the RFH in white tie and tails. During an energetic piece he looked like something out of a Marx Brothers film. Conventional dress doesn't always work better.
JC
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Pierre
Pierre, best wishes on the Belgian National Day! I hope the views of Belgian people are soon more united than some of those in this thread.
JC
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What a difference a day makes! I know I'm a silly, emotional old soul, but I had to resort to a box of tissues while watching and listening this evening. Three excellent peformances that I found very moving. Encore, encore!
JC
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I agree with this. And I think those who are criticising the performance of Wayne Marshall are really missing the point (or several points) of the performance.
Firstly, the acoustic of the Royal Albert Hall is virtually dead, almost muffled in its overall effect. I think you can get away with fast passages and alternative emphases and still enjoy (and understand) the music.
Secondly, how many times have artists in the past deviated from the markings on the score (any score for that matter) and stamped their own authority on interpretation and the performance overall? I don't think creative musicians such as Messiaen would expect future artists and performers to be straight-jacketed by his own wishes (just in the same way that Dupre would never have constrained Cochereau in his performances of Dupre's work - indeed there is verifyable evidence that he encouraged Cochereau's ultra-symphonic style on the NDdeP organ).
And lastly, I wonder how much envy may be interpreted in some of the criticisms levelled here on WM's performance? I agree that some passages were too slow (or over-emphasised), and the last chord certainly was way too long, but the overall level of virtuosity, skill and musicianship displayed by WM (and in his career to date) would be beyond the wildest imaginings of some of our criticising contributors to this Forum.
In my comment, I said that the performance didn't do anything for me and I stand by that. I don't doubt Wayne Marshall's virtuosity, skill or musicianship, I wish I possessed ten percent of it; but there are some performances that send shivers down your spine and for me this wasn't one of them. If it hit the right spot for you, then I am delighted that you enjoyed it.
JC
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I endorse many of the earlier comments, Wayne Marshall played all the notes but his performance did nothing for me. I agree the last chord was absurdly long. It was good to see the organ featured in a mainstream concert with a full audience even if it wasn't a work that is likely to attract many new followers.
JC
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Does anyone have any of Diana Bish's DVDs "The joy of music"? I am given to understand that she has helped bring the organ into the modern world by a very human and singular approach, indeed one could say she brings the message of the Lord Jesus Chirst into both the organ loft and the highstreet, by touring cities in which she plays and chatting to people. What a wonderfully unique approach to organ music. I think some of our Cathedral Organists should do this. Such an outreach.
R
I'm sorry to read the lukewarm or negative reactions to Richard's post. Anyone who brings the organ and its music to more people has my wholehearted support. As for bringing the Christian message to the wider public, I suspect I am not alone on this board in seeing that as one of my aims in life - and I am proud to say so.
JC
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Is the organ really that good, though?
Sorry, but I'm still not convinced that the instrument is any more than a massive indulgence to RD's wild ideas.....
You have made it clear that you don't like the RFH organ, but unless I have missed something, you haven't told us what you think is wrong with it. Do you think it should have had devotional tones and grand diapasons?
In my view, it is an instrument that worked quite well in a hall that was totally unforgiving to performers and instruments. Yes, full organ is harsh, but at the hands of those who appreciate that less is more, it can (and I hope will soon) make some ravishing sounds.
JC
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Perhaps the most significant LPs for me were Helmut Walcha's original Archiv recordings of JSB at Cappel and Lübeck and Marcel Dupré playing Widor 9 at St. Sulpice. The Walcha seems a bit severe and scholarly now, but I still refer back to it on occasions. The St Sulpice recording shows its age, but those pedal reeds still send shivers down my spine.
The LP that inspired me most was Fernando Germani playing Franck's first choral at All Soul's Langham Place. It was my first introduction to Franck and I loved it as soon as I heard it. Franck's music has remained part of my life ever since. The disc is long gone and I have never managed to find it again. That's probably a good thing as I might be disappointed if I heard it today - but I still have Germani's Selby Abbey Franck chorals as a consolation prize.
JC
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Could this be a way of raising funds? Go to a web page late at night, see which organs are not in use (buildings closed up), put in credit-card details, sit at home MIDI-console and play it live with sound relayed back! It's almost practical with current technology.
If you are the Steve Walmsley who used to have an office three doors from mine, I know you could do it! (And if you are... hello from John).
JC
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Just to be controversial, I rather like the ACC of St. François de Sales at Lyon. It isn't spectacular like St. Ouen or St. Sulpice, but I find it very much more the kind of organ I could live with. Small, but perfectly formed, as the saying goes.
JC
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Yes, indeed, Alastair. My big problem is I'm not a French linguist.
Just out of interest Barry, why is the board showing you as a new member?
JC
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I've got that CD. Vierne's Final is nicely done, but I'm much more thrilled by the Prélude on the previous track, in which SVCC masterfully builds up dramatic tension in a way unlike any other recording of that piece I've heard so far.
Better even than Cochereau? Knowing acc's excellent taste, it must be good! Having listened to the Cochereau CD again today after reading the earlier comments, I totally agree about the Final, but I thought his Prélude was superb.
JC
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http://uk.youtube.com/watch?v=7mDxKSrNdxw
this is the 'new' organ in the 'new' auditorium in Santa Cruz, Tenerife. It has a write up in the current ISO magazine. I had a tour round it recently and it is absolutely stunning. Seeing the En-chamades emerge through the wall is a bit surreal, but quite something!
for more info see
Even though I admire innovation, perhaps this is taking it a bit far!
JC
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Speaking of innovation, I know of an excellent organ builder (who shall remain nameless) who is developing a device which makes bellows behave as if they are being manually operated, while connected to an electric blower. I've actually seen the prototype! Now, that's my kind of innovation, although I suspect John Carter might not agree
But why an electric blower when there is so much expertise in windmill power in the Netherlands? Water could be pumped into a huge tank in the church tower to drive a hydraulic turbine on the blower.
JC
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Ooooo, I like that idea. Does anyone know if it exists anywhere else, or is it a new idea. I've not come across it before.
Finally, no need to search for the + button!
The whole piston set up there sounds very flexible - giving each organist a choice for his/her preference, rather than arguing the pros and cons of sequencers, steppers, generals, divisionals, etc...
(Ah, but can you turn them all off so that you can pretend there aren't any there at all for playing early music?
)This is a fine example of innovation, that I have been bleating on about in another thread. A simple idea that you can choose to use or ignore if you wish. May I add my thanks to Adrian for giving us this fascinating and exciting insight into the installation of the new organ.
JC
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Dear John, London is one of the wealthiest cities on earth.
If I were a londoner, I would not accept the idea we must compromise our instrument
in a City where zig Billions are exchanged -and sometimes binned!- everyday.
Have I ever used the word "compromise"? Innovation does not necessarily mean something worse, with lateral thinking we might find something better.
JC
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Without good instruments, young players will not want to take up the instrument at all! Young players need to be inspired! But, as you rightly say, they also need opportunities to take it up.
I think it is a little premature to judge the RFH organ at present. These things can take time and in William McVicker and Mark Venning there are extremely capable and dedicated people working away on that organ's behalf. Of course it needs to be fully re-installed and there are plans to complete it.
As the ex-CEO of a major international congolomorate said to me - "accentuate the positive"! London is a great place for organs - the RAH organ is newly restored and has well-publicised concerts; there are superb organs in Westminster Cathedral, Abbey, St Pauls, Southwark, etc, etc. Look at the London organ concerts guide! There is a lot to be positive about!
With redundant organ clearing houses groaning at the seams with unwanted Hills, Willises, Walkers, etc, do we really need to make more cheap pipe organs? Didn't people like Walkers in the 1960s with their positive series try this using modern technology and materials? What about Peter Collin's batches of EOS organs in the 90s? You could get a new mechanical 2 man and ped for less than 20k - a new 6' Steinway grand costs over £40k! But perhaps it's time for a builder to try again...
I do not disagree with anything you have written, but please don't offer me an unwanted Hill or Willis. Returning to my motoring analogies - I loved the Morris Minor fifty years ago, but I don't want one now!.
JC
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Is that all that's driving technical innovation in organs? Just to keep the costs of an item that is intrinsically bespoke in line with the prices offered by mass production and exploitation of cheap labour in poorer parts of the world?
I know it is very difficult for people in today's consumer society with cheap goods everywhere to grasp why something like an organ costs as much as it does.
But nobody has yet had the temerity while looking at my piano or organ to suggest a clavinova could do the same job for a fraction of the cost.
Nor would I have the temerity to do so, but the pipe organ probably need not cost as much as it does. It's just that nobody appears to have seriously sat down and worked out how to make savings, perhaps for fear that their product would become less prestigious.
JC
The Best Cases
in General discussion
Posted
I don't know why you make that presumption. After all, from heva's viewpoint, Haarlem is a case in "the country"!
JC