headcase

Have to disagree with SJF about this. A year ago, I took part in a concert in a church on the south coast - a mixture of choral, piano and organ items. The organist of the church had promised to offer a couple of pieces. This gentle 70+ man stepped up and rendered a fantastically lyrical II mvmt from Widor 5. It was well-played, well-registered and thoughtfully presented and the audience were attentive and appreciative. What more could one want ? Sometimes the unexpected choices are just right... H

I would take this question a little further - has anyone fostered a favourite recorded interpretation, only to find another (perhaps years later) that trumps it ? Personally, I have often found that the first-purchased recorded performance of a given work becomes a favourite, to which all subsequent versions are subservient. A benchmark, if you like. David Sanger's Jongen Sonata Eroica from Bath Abbey (pre Klais) is one such definitive example. H

An ex work-colleague of mine, once organist at the parish church in one of the most photographed villages in Essex, played the same voluntary for several weeks on the trot. After 4 weeks no one had passed comment. On the other hand... I remember playing the St Anne fugue after Evensong one Trinity Sunday a few years back. I assumed that by the time I had finished everyone but the churchwarden would be gone - imagine my surprise at the spontaneous round of applause that greeted the final Eb chord ! I genuinely had no idea that anyone was still listening, so still and attentive had they sat. Last year, as our vicar was about to depart on Sabbatical, I played the theme from John Williams' Raiders of the Lost Ark - which elicted very favourable comments, particularly from the incumbent ! H

Best be prepared for a shock, then...I think you'll find she's gained a lb or two. H

I also think the Prélude is the most outstanding movement from the Suite Op5. I have a cd of Cambridge Voices singing Duruflé's music, recorded at St Étienne du Mont that also includes three works by Ian de Massini (b.1959), the first of which, his Deploration sur le nom de Duruflé uses a theme of the Prélude to haunting effect. It marks the sorrow of his friends, family and parish as they mourn his passing. Further on there are passages lifted from the Veni Creator variations, too. A deeply moving piece. I can thoroughly recommend it. Herald HAVPCD 234 H

Anyone familiar with Egil Hovland's Toccata on Now Thank We All our God ? I think Christopher Herrick recorded it at Westminster Abbey for the first of the Hyperion Organ Fireworks discs. E major. Tune easily identifiable and great fun to be had on last page with fruity chord/glissandi and a strong cadence. H

Yup. I played one regularly for 10 years. I think they were known as fish-fryer consoles. It often made me wonder if anyone had unlocked the console hood and tried playing it with the keyboards still retracted. The square sugar-cube thumb pistons were a nice feature, too. H

A few years ago I played for an Easter Vigil service, late Saturday evening. The vicar was keen that the service should commence in complete darkness...till I pointed out that accompanying two psalms in darkness and from memory would be stretching things a little. He acquiesced and I was 'allowed' to switch my miserly 25w console lamp on at the appropriate time, on the strict understanding that I switch off between accompanied items - which I did, only to have the bulb blow for the second psalm... which reminds me of an old chestnut... Q. How many Anglicans does it take to change a light bulb ? A. 40. One to change the bulb and 39 to say that they preferred the old one as it was anyway. H

The topic of service disasters made me realise that the funnier side of organ tuning (yeah, right...) might also help to lift a little of the winter gloom. Two stories come to mind. When I was a lowly tuner's lad, said tuner and I visited a parish church in a Gloucestershire town (well known for a book festival). The organ was placed on a gallery at the west end, the console about as far away as it could be, in the chancel. Communication was therefore difficult with resorting to unseemly shouting. A dumb note on the bass of the Swell Oboe meant the tuner needed to remove the pipe for cleaning. Standing inside the Swell box, invisible to view and having lifted out the lengthy resonator, he then proceeded to demonstrate how, with the correct embouchure, one could perform The Last Post and Reveille. Sadly this degenerated into a pitiful collection of what might best be described as 'raspberries', all the more unfortunate as the Priest had walked in unannounced partway through the concert. Sitting 90ft away at the console I was helpless to indicate the presence of clergy! We didn't lose the tuning, either. *** The second story was related to me by a colleague and concerns the antics of another young apprentice (no names, no pack-drill) who went on to far greater things in the trade. Working in a cold and dingy south-east London church in the mid 1950's, little amusement was to be had. However, the church did possess some very fine chandeliers, suspended on heavy chains from the roof trusses. The apprentice, being of an adventurous nature, considered that these chains would make excellent pendulums. Climbing aloft and clinging to a chandelier he did indeed prove that it was possible to get up a 'fair old swing', up and down the nave. As always happens in moments of such delight, the church door creaked open, heralding the arrival of clergy. Now, of course, consider the scene...and that there are no brakes, as it were, on a swinging chandelier... *** Any other takers ? H

I know what you mean about spotting errors typed into a PC. I recall reading an article (I think it was written by the late Andrew Pennells of J W Walker) about using CAD design techniques for organbuilding. Unfortunately, as he put it, all your mistakes are perfectly rendered. I have the same problem when preparing scores for publication using Capella. I find mistakes sometimes months later - truly annoying ! H

Latry - mmmmm. Good decision. Have a listen to Aubade - why is this not played more often ? It's a delight ! H

I rather liked the story of William Harris's approach to playing Bach at Windsor. Having placed the music on the desk, he thoughtfully drew a Stopped Diapason 8ft. After a moment's contemplation he turned to a student beside him and said, "Let's go all Baroque!" and pulled out the Principal 4ft... H

Fans of St Bavo may be interested in this link : http://www.bavo.nl/bladen/live.htm This is a live webcam link, operated during daylight hours mainly and requires Quick Time. Last time I logged on someone was tuning the reeds ! H

I had an excellent demonstration in August 1985 of Pedal Divide, by Philippe Lefevre at Notre-Dame, Paris. One could select whereabouts the pedalboard was to divide ; in this instance PL chose to divide at middle C. He improvised for some time, building up to the most frighteningly cataclysmic tutti (I actually sheltered behind the console at one point to try and escape the onslaught) but I was able to see that left foot was occupied with thundering pedal 32ft's etc., whilst the right foot gave out various plainsong tunes on the Chamades, against a backdrop of glittering manual work. I imagine that this facility was retained when the console was renewed. H

Judging by the content of some recent posts on this discussion board, it's time to explore some new avenues.... I would be interested to hear of pieces in the organ repertoire that seem linked thematically to others, particularly where composers are unlikely to have known each other and the thematic similarities therefore coincidental. To kick off, I would cite as an example the similarity between the theme of Reubke's Sonata on the 94th Psalm and Smetena's Piano Trio in G Minor. Has anyone else come across this example ? Can anyone suggest others examples that might make, for example, a useful/interesting pairing in a concert scenario ? H

Perhaps Lee Blick should wed Sally Sett, a thin spindly lass ? H

Ah, Yes but it's American madness...there are many examples of it to be found, some of them in Washington. H

Jeremy raises an interesting point. I found myself in the situation of being asked not to play organs in the workshop. I challenged the works manager as to why this should be but never got a suitable (come to that, printable) reason. Since he could neither play, nor identify middle c on the keyboard, I suspect that some jealousy was involved and that criticism was feared if faults should be found in action or voicing. It could be argued that time=money and playing was therefore a waste of both. Of course, one could fritter away time playing aimlessly but - with a critical ear and purposeful exploration of registrational variety, it could be time spent to the customers' benefit. I think times are more enlightened now. We have many leading builders able to play to high standards. Certainly, as a tuner, I find it is of inestimable benefit to be able to play. But of even greater benefit is to be able to LISTEN with a critical ear. I shall probably be shot down in flames for expounding this but I do think there are many organists who hear what they expect (or would like) to hear when playing. They'll pull out shedloads of 8fts and say how marvellously French it all sounds. All I hear is the all the 8fts arguing and robbing the wind ! A pokey two manual in a suburban brick-kiln is not going to sound like a V/100 C-C organ going flat out and never will. Beecham was right about the British ; they don't care for music but they absolutely love the noise it makes. Ah well, back to sorting out the music for the Midnight... Headcase

I had the pleasure of page-turning for Allan Wicks during a recording session for Radio Kent about 1983/4. He gave a blistering performance of Dupre's Evocation which made a big impression on me, not just for the music but for the virtuosic presentation. Two takes were all that was necessary. Not sure what your average Radio Kent listener may have made of it but I sure enjoyed it !! Headcase

What is it about English mixtures that makes them sound so wring in French music? ...usually it's the naff acoustics of the English churches where one finds them ! Or is that too simplistic? H

I had some reseservations about the old regime at OR and in particular the record review policy. Paul Hale could legitimately enthuse about almost anyone (especially if connected with his beloved New College) when writing under his own name. However, certain pen-names were adopted for critical dissection of lesser mortals. Anyone know what happened to Walter Reeves and Robert Lawrenson for instance ? Anyone ever meet them ? I reckon that photos of all three together would be VERY interesting ! On balance though, the old OR was a great read and I studied it from cover to cover as soon as it hit the mat. Michael Bell's choral music reviews were the fruit of a true wordsmith, informative, concise and laced with delightful wit. Headcase

From a church magazine in Essex, November 2005. (The contributor was describing the functions and stops of the organ, recently acquired by the parish). "The [HohlFlute] may be said to date from the time when William Hill (organ builder of note), bored two holes through the top of a wood pipe and labelled it Hole Flute!" Hautbois - A stop invented by Mr Hope-Jones, and consisting of metallic plates set into vibration by an alternating current of air. The tone resembled that of gongs." "The Venetian Swell was first adapted to the organ by Green, and soon superseded the original so-called Nag's Head Swell." Can anyone improve on these, do you think ? Despairingly, Headcase

I think Brian Verrier left Osmonds after Parkstone was completed and joined the already formed Deane Organ Builders. I had sight of the HN&B/Osmond cost sheets in their London office when Parkstone was carried out. If I remember correctly the cost to the firm was almost exactly double what the church was charged. What happened to the old Bryceson Leclanche cells in the vestry at Parkstone ? Are they still in situ or long gone ? Perhaps Peter Keats can tell us. Headcase

Regarding Carlo Curley's registration method ; I believe he has a kind of formula in his mind, along the lines of Sw 1 = Sw strings, Sw 2 = Fl 8 & 4, etc., so that on any large instrument he knows pretty much what to expect once the departmental pistons are set. I observed this at first hand, on a stand-by for a concert. I did however notice that when an unexpected registration turned up, the piston system got the blame - big time! I have installed several piston systems with the SCOPE facility. It has much to commend it from an organ builders' perspective. After installation, it makes setting up the pistons, departmental, general, reversible and so on, very easy to do, though it does require an analytical mind to make sure that all memory channels are correctly SCOPED. I have always shied away from actually putting the SCOPE button anywhere visible on the console as this creates the potential for the unwary organist to make the most fabulous 'pistonic' disaster, leaving a fine old mess for the next user. Putting it discreetly somewhere that perhaps the educated titulaire can make sensible use of it is better and saves that eleventh hour telephone call for help. Headcase

Just had a look at the NPOR. Nordic doesn't produce any results but look at this record - this is the one in S Wales that I referred to in my previous post. I remember it when it was in Killay. http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=D06873 Headcase