andyorgan

At the risk of another deletion: What's the difference between a viola player and a dressmaker? One tucks up frills....

That's very sad news about the org assoc, though excellent news about Gordon Stewart, given his experiences 'over the pond'. Is the excellent Mrs Sunderland Music Festival still going, does anyone know? They had a relatively well supported organ class in my youth which I occasionally won. The organ classes were held in the Town Hall, quite a thrill for a 15 year old, and then the winner got to play in a big competition with other instrumentalists in the St Pauls Hall. I never won that bit (though it was the place where I took the FRCO years later).

I don't think it does us any favours by sniping from the outside. They have taken some time to come into the 20th century, and are making their way into the 21st century, but that's the nature of organisations of that age. They are not perfect, but they are trying. And along with the ABRSM, they are the only people awarding exams these days who haven't dumbed down the exams. Those who really are against the idea of the RCO should do something about it. Winge over! Having said that, I was disappointed the Birmingham project had to be scrapped. The thought of a national centre, concert hall, library etc. would have done us all the world of good. Although, I wasn't sad to see the back of the foreign organ. Can you imagine the French, Germans or Americans building something like this and then kicking their own national industry in the teeth by going abraod for a builder?

Not sure I want to get into the nitty gritty here, but you do mention sportsmans (ie cricketers and footballers mainly) benefits which is surely a huge anomoly that needs to be got rid of. The original quick whip round to help a late 30 something at the end of his career to open a pub/fish and chip shop is a thing of steam trains and black and white telly. These guys now get multi million pound salaries and there is simply no need for this hand out. Scenario above; organist gets £100 for wedding and hands over somewhere bewteen £23 and £40 in tax, footballer gets 7 figure sum for 'testimonial', gets to keep the lot. Doesn't seem fair really, does it?

...'Lord, let me know mine end?'

This school has an excellent choral tradition, furthur to earlier threads about music in primary and prep schools.

Reminds me of the time a friend of mine had to play for a colleague's funeral in Scotland. The deceased had been able to plan his funeral as he knoew it was coming soon, and he wanted to be carried out to 'Wish me luck as you wave me goodbye'. The organists concerned managed to pop the tune in the pedals under a French toccata-like texture. Those in the know heard it, those without a clue, didn't. Seemed the best way all round.

Absolutely, I picked them up when they first appeared and don't feel at all cheated for having paid full price. I know the organ wasn't in the best of states and that quite a bit of the recordings were done at anti social hours due to the noise facotrs, but they are superb. Incidentally, I picked up the complete Bach/Hurford for around £30. Well worth it, some idiosyncratic moments, but considering how long ago they were recorded, they have aged well.

How about the Toccata Nuptiale by Chris Maxim, published by S and B. Its a sort of Vierne like toccata in the manuals, then when the big pedal tune comes in, it is in fact, Daisy Daisy, and you can't miss it. The piece is a good one, and though there are one or twotricky moments, possible to learn in a short amount of time.

Glad someone else had this problem, I thought it was just me. The BBC could have put one of its 'I'm sorry there's a problem with the sound' notes on screen, would have saved me fiddling with wires rather than enjoying the service. And rather surprisingly, the Rogers did sound quite good. I wonder if that old Bradford is still kicking about there. Both the cathedral choir and the chamber choir were on good form. Sadly, not the girls choir, which was a pity. I missed the credits at the end, who were the little Baroque group? Anyone spot how many little boys couldn't stiffle/hide the yawns. Def not a repeat from prev years. One or two robed members who were not there last year. Bishop of Dudley was good, we used to enjoy him when we lived more local.

Isn't there another famous story about this piece? I'm sure I heard a tale about a very famous cathedral organist who played it at the end of a choral evensong on radio 3. It was in the days when cathedrals would do the live one and then a recorded one, either the day before or after. The story goes that said organist made an absolute hash of the pedal entry and got off the bench, shouted over the screen, 'we can edit that out can't we?' thinking it was the recorded version, when it was actually the live service. Can anyone confirm this, or is it another apocyraphal one?

Yes, sorry, I did. The supplement has Corvedale and East Acklam, the two major highlights.

Oh dear, there goes my career then, having only mastered that really easy G major one by Mozart (14/15/16, can't remember which one) and the little concerto by Richard Rodney Bennett, and I only managed that one because it was a bit jazzy and required some improvisation!

From what you tell us about your church, I think EH and the new supplement would be a good bet. CP is a better choice for the, lets say, less catholic among us (or at least our churches which are less catholic!). What I didn't mention above, was it is worth looking at CH4, the Church of Scotland Hymn Book which came out last year. I know it has been taken up by a number of churches in England. There's a bit too much John Bell in it, but I quite most of the rest of it. It is worth getting a copy to browse.

You can't beat Fillsell of those active and in their prime today. I think he has also recorded both the Reubke's. He played for one of our Rio Grande's, effortless, and his recent Vierne set will take some beating.

Please, please, please don't buy Hymns Old and New, it is terrible! It had just been purchased at my last post before I arrived, and I can't think of anyone who liked it. Here's the grumble list: -anything remotely politically incorrect has been massacred, 'Angel Voices ever singing' is a travesty to name but one, in fact the choir were mostly on auto-pilot and would sing the A and M anyway. (However, I don't object to Onward Christian Pilgrims, as that is really a new hymn using the same first two words, rather than trying to 'update' the original.) -too many hymns put into guitar friendly keys (it comes with guitar chords), Angel Voices again (in C), Ewing (in C, not Dflat, in fact any hymn that ought to be in D flat is in C) -none of our modern worship group liked the 'modern' ones in it (all very dated ones), apart from a couple of the better Kendrick, and almost without fail they are exceptioanlly dreary and uninspiring arrangements. More modern hymns we would reproduce in the service sheet anyway. -the rather couldn't care less attitude to putting it all in alphabetical order, rather than by subject, which even the Baptist and Methodist hymn books do -poorly built music copies. I suspect the congregational copies fare quite well as they are thinner, but the music ones were on their last legs, repearted use three times a week over 6 years, not long enough in my book. I did an extensive survey of alternatives, and although my personal preference might have been for EH plus the patchy in places supplement, I did really like CP and would have been happy with it.

Yes, and I have that CD, played by Harold Feller, its actually quite good. On the subject of transcriptions the other way, I think I may have mentioned this on another thread, but the Alison Balsom transcription of the Bach C major trio sonata for tpt, vln and continuo works really well.

I have this disc and it is really very, very good. The Bach C major Trio Sonata is an absolute joy and transcribes very well. I think you could probably make it work if you played the second part and bass line and left the topline to the trumpet. Shame the Badinerie is unaccompanied.

If memory serves me correctly, I think there is some stuff by Flor Peeters and by Langlais, if you try searching for them on the internet.

Sorry, I was happy with a ringside seat, but feel I must join in when someone mentions Beethoven Missa Solemnis in glowing terms. I run a mile (and it would be further if I wern't approaching the wrong side of 40), and I find its one of those works that musicians treat like Marmite, its either love or hate, absolutely no middle ground. Widor Symphonies are quite a hot potato. I've often wondered about piecing a symphony together for a recital which has Widors best movements in, they've all got at least one weak movement. Audiences need educating with some of the best other movements (5th, 1st move; 6th, last move; 8th (is that the B minor one, last movt and that gorgeous slow movement in E major with the double pedalling), 4th, scherzo etc) Absolutely no musical reason for doing it, other than wanting individual movements to be heard and not wanting to only play one movement. I've always thought it odd to play single movements from sonatas/symphonies in a recital without the context of the whole thing. My first thoughts (probably rather unfairly!) when I see it on a programme, can't they play the whole thing? I can't get into Bruckner for some reason (motets OK, symphonies leave me cold) and quite a lot of Mahler doesn't do anything for me. Ditto Reger organ music, just notes for the sake of it. However, I have found some of my tastes changing over the years. Mostly because I've ended up having to teach A level set works that I wouldn't normally go near with a barge pole, but needs must, and they have rather grown on me and I've started to appreciate them a little more (Berio's Sinfonia comes into that category, as does Messiaen Turr Symph and Strauss Tone Poems).

Huge fan that I am of transcriptions (hence the thread in the first place), I find myslef asking why Beethoven symphonies? TH is a great player and a real showman (technique to match) and he gave a great recital at my old place. But why the Beethoven symphonies? Am I missing something here? Agree about the registration issues. My two biggies (Lemare/Carmen and Die Fled/me) cry out for so much colour and I don't think I could do them effectively without generals (or long awkward pauses in between sections) Anyone currently working on anything new? I've got about half way through Bernstein's Candide having heard one of the big Americans doing it.

As my copy still hasn't arrived, what does it say on page 103? PS I think the reviews section is still pretty comprehensive isn't it?

My copy hasn't arrived yet, so most intrigued. However, I think some of the criticisms outlined above are rather out of order and unfair. I know there were some teething problems, but I think they are getting it right. Anyone else agree?

I have the book, it is great fun. There are one or two other pedal only pieces in there which are good for the technique, not sure about using them in a recital. Audiences would only appreciate how difficult they are if they can see you. I'll try and dig it out and give you the title.

Depends what you're after, if its the wow factor to stun the audience then: -Guilmant arrangement of the 1st and the 8th Sonata -Jongen -Dupre -Widor (its three movements from No.6) -Eben (not as audience friendly!)