andyorgan
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Posts posted by andyorgan
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If we're going down that line (transcriptions of organ music, where have we seen that today?), then you can't beat the ravishing Alison Balsom on trumpet playing an arrangement of the C major Trio Sonata on this cd.
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Indeed. Orchestral arrangements are very much back in fashion these days, at least with British and American organists. I don't understand why. Obviously they play them because they like the pieces, but there must be more to it than that. Is it a reflection that the organ has a dearth of great music that appeals to the general public (or a dearth of great music, full stop)? Or is it that arrangements allow the player to show off all sorts of wizardry that the standard organ repertoire doesn't?
Why? Can I offer one or two suggestions.
Firstly, we have a number of organs in this country that were conceived with transcriptions in mind. Our big civic halls etc. with their orchestral stops and colours.
Secondly, I think that if you choose your repertoire carefully then yes, they might show off some wizardry (or more likely stops!), that might not get as much of an airing elsewhere.
I'll admit 'guilty' to the charges of playing transcriptions, however, I've never done a whole recital programme of them (despite recording a CD solely of transcriptions), but I will add that I think some people do go too far in their search for new transcriptions where I can't understand what they are adding to the repertoire. I noted similar criticisms in the current OR of selections from 'Carmina Burana' and the Gershwin 'Three Preludes'. I'm with the reviewer here in not understanding why those pieces in particular (apart from number 2 of the Gershwin) were chosen.
For me it has always trying to balance some familiar music in recitals where you know a large number of people know very little of the repertoire with attempts to educate them with what I will refrain from calling 'proper' repertoire, more 'original' repertoire. What we shouldn't be ashamed of is that for many years, transcriptions were an important part of the repertoire and any attempt to banish or erase them from our heritage will not be a welcome one.
Of the Briggs items in the advertised programme, I know that the Dukas works well, but I would be interested to hear from those who can attend how the Bach and Elgar come over. If anyone will convert you to transcriptions, David is one of the few true exponents and evangelists!
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I remember it still...........
"Piano: it's the way you put your fingers ON the keys; Organ: it's way you take them OFF."
DW
Excellent! Is that attributable to a famous teacher/player?
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I watched Part 1, and yes, what a good programme. What sort of programme is it taken from in France? A kids/teenage show, a music show, or a 'technology' show? My French isn't that great, but I was amused (if my translating is correct) that the first player is introduced as an 'organist and a musician', what greater compliment can there be!
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I heard Jeremy Filsell's recital tonight and it was a disappointment, to say the least. Sure, he has fast fingers, but his playing was unmusical. I thought he didn't have very good control over the Bach pieces. The Durufle Suite was awful, particularly the Sicilienne movement, which was rendered mechanically.
I feel a little guilty, as I had previously mentioned his name as being worth hearing. All of us have a bad day from time to time, but I still rate Jeremy as one of the finest musicians I've had the pleasure of working with. I'm still a big fan of his Vierne cycle, and the Reubke piano disc as well. He's also a pretty handy sportsman (or was in his prime!) and a thoroughly nice chap as well.
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I always record the programme because I am out on a Tuesday evening. I have last week's show, but when I reorded this week's programme I had left the pause button depressed in error, so I missed it.
You can of course hear the programme any time before next Tuesday's on BBC 2 listen again.
Colin Richell.
Do you have any episodes from Spetember?
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PM sent.
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A very quick one, does anyone record this programme (or know anyone who does!), either live off the radio or using the iPlayer? In particular, the last few shows?
Thanks in anticipation!
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Much of what has been discussed here is also to be found in an adjacent topic “Recording a CD”, copyright being the key issue in both threads.
I expect I’m the last contributor to have discovered this.
I blame the boxing gloves and skis.
David Harrison
Oops, the adjacent topic is called 'Photocopying for Awkward Page Turns'. They must be big boxing gloves...and you've done well to find somewhere with snow in October, or are you living the high life abroad as a tax exile....
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PM sent
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We did something similar three years ago, though just using the choir. We went through one of the choral specialst CD people (I can name them if you PM me) who take care of all of that sort of thing. We used a mixture of last verse harmonies by me, and the organist we hired for the occasion (a fellow board member), as well as a couple from other sources. I don't think we paid anything extra for the descants etc. Other than the ones by me, the rest were by Francis Jackson (for East Acklam in NEH supplement) and one for CHrist Triumphant in the local RSCM Diocesan Festival booklet.
PM me if you'd like a copy of the disc (gratis of course! to a fellow member)
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Strictly speaking, its against the regulations to request extra time with the church, so you run a bit of a risk. However, I will own up to a bit of extra practice myself here when the person due to follow me in Huddersfield didn't turn up and no one came to chuck me off. I'm not sure it made a huge (if any) difference as the exam was over a week away.
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One of my favourite pieces! I have recorded it on a big English 4 manual (I think the one that brokedown on your fellow Kiwi from this forum) with plenty of stylus phant. IMHO, a great opportunity for a bit of extra ornamentation in the opening pedal solo and in the final flourishes. I play the last section at quite a brisk (but not quick bazuin) triple time, otherwise the pedal part can be a little lumbering. I also add an Fsharp to the ornament just before the final chord which rather offended one reviewer. I'm not claiming any originality for it, it came via my teacher via Ton Koopman. I mentioned this to a very distinguished Dutch organist that I was turning pages for, he was rather sniffily dismissive of Mr K, along the lines of all show and personality. I had to disagree, it was TKs recordings of Buxtehude that made the composer come alive for me as a teenager. It needs some rhythmic flexibility and some individuality to keep with the
fantastic style is especially suited to instruments. It is the most free and unrestrained method of composing, it is bound to nothing, neither to any words nor to a melodic subject, it was instituted to display genius and to teach the hidden design of harmony and the ingenious composition of harmonic phrases and fugues.
It is an emotive subject, and liable to cause as much upset as notes inegales!
Herrick pairs it with the Eben Homage to Buxtehude on one of his Fireworks discs.
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I had a few old Bach volumes that I've been using for near on 25 years that had seen better days, but was reluctant to invest in new copies as they had all my pedalling, fingering, teachers markings etc. So I took them to a small book binding company to deal with not far from here (I think they were in Poole?). Firstly, he didn't like my previous attempts at repair, selotape, and clear scotch tape being not good and took some removal. However, once he had done that, he has beautifully rebound them and made them hard back, which means they are now much more sturdy. Cost per volume wasn't far short of a new copy, but I think this has been money well spent. THey also stay on the music stand much better. I'm about to go back with the remaining four Bach volumes and my Buxtehude.
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I've played two proper organs with glocks on, the Bath one you mention and Hereford Cathedral; and one electronic.
I have an arrangement of the Sugar Plum Fairy in the repertoire, and it didn't work on either, so for my recital in Hereford a few years ago, didn't bother with it.
However, last year, knowing that it hadn't been in long, I was determined to give it a little bit of an outing in Bath. It is a little louder than the Hereford one, and the sound is more akin to that of a tubular bell. So I found an outlet in an arrangment of Venus from the Planets (by Arthur Wills). On the last page, there is a place you can just do the crotchet C Bb G F for two bars. I was pleased with the outcome, just a splash of colour, and not too much of it.
Do you need one? Well, depends what you already have. The last instrument I held a position on, I would have rather had a louder solo reed, and a 32' on the pedal, but that's perhaps not to everyones taste.
What could you use it for? Well, odd bits of (presumably mainly) transcription repertoire, or as I did on a toaster in a well known cathedral about 10 years ago, splash a bit of colour in relevant verses in psalms. I was much younger then, so I may readily admit I perhaps overused it in my excitiement at havinf a new toy!! There are chimes called for in a number of Lemare original pieces (and also in his cheesy Encore Series of transcriptions), and the one in Bath (IMHO) is robust enough to take some of the Chime parts in that music.
THere is also a Dover published volume that specifically has pieces in it with Chime parts.
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Although I couldn't find it on the Dover website, here seems to have a copy, and a lot cheaper than I paid for it!
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Yes, I was right, it is the Dover Great Transcriptions for Organ volume, transcribed/arranged by Middleshulte. You won't be disappointed by the full-bloodedness of the arrangement; 25 pages long and you can barely see the score on occasions for registration changes, dynamics and articulations abound all over the page. Guaranteed not a dry leg in the house at the end! Did you have a particular organ in mind for the performance?
It also has the Dudley Buck arrangement of William Tell, does anyone play this. I've always wondered why it's in D major, and not E. Is there something I haven't cottoned on to about compasses in America (its also a bit easier than Lemare!). Thoughts gratefully received.
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Having only met you in person once (long time ago!), I too would also miss your contributions, particularly the vast coverage of well known and forgotten bywaters of the repertoire that you are able to help fellow members with.
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I am sure there is one in the Dover published Transcription volume (well thumbed by me, as you will all remember). However, its not listed on the Dover website, and I haven't got the copy to hand. Will check it out and get back to you.
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The RSCM publishes Music for Common Worship: Night Prayer (Compline) in Traditional Language (Ref: RCW107) which I have used.
The traditional-language version contains a plainsong setting of the text from Common Worship: Sunday Services, together with those contained in the 1928 prayer Book. Published for the Plainsong & Medieval Music Society.
Many thanks so far everyone.
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Has the new Keble College instrument made it onto this new organ list yet? Ken Tickell is to do it.
Or Paisley Abbey?
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Here at school we've got the opportunity to restore a regular compline service with our boys. They enjoy singing plainsong, usually trotting out the Advent prose as a once a year outing. However, I'd like to get hold of a copy of the music for compline in modern notation, rather than teaching them how to read the old notation. Anyone know where I can get hold of a copy?
Thanks, in advance
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For prep for my FRCO, I found the AB grade 4 and 5 list very useful (though not free) in terms of practice. I agree with the comments about real music being the important quality. Remenschnieder and hymn tunes had been recommended, but there was far too much familiarity and predictability about them.
For the sight reading, grade 6 pieces, particularly the B and C list pieces were useful.
My biggest and steepest learning experience was when accompanying rehearsals for Guildford Choral Society about 10 years ago when they were doing Messiah with a period band and all the rehearsals had to be done a semitone down.
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the coffee shop is now no more, the space is now used for CD's, since the refit
Peter
Oh no! I'll never be allowed in now. I could only wrestle time spent in there with the other half on the premise that I could leave her and the kids in there with a good coffee and a selection of cakes.
Badly Positioned Organs
in General discussion
Posted
The one in Pollokshields in Glasgow that Lammermuir put in. Don't really blame them though. After the church had virtually burned down, there was an opportunity to place a new organ in the best setting. Instead, propped in a corner behind pillars and doesn't speak well in to the whole body of the church. A pity.
Contrast with what in my opinion, was an excellent place to situate a new organ when a similar fate befell St Barnabus in Dulwich.