emsgdh
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Posts posted by emsgdh
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A very useful and flexible specification by the looks of it, and ideal for catholic cathedral music I would have thought.
MM
Catholic Cathedral Music ? What, pray, would that be ?
In the US it's strictly cowboy music, reel two of a "Sons of the Pioneers" movie.
Karl Watson,
Staten Island, NY
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Tromba:
Your policy of no liquids is an excellent discipline. However, not unlike other traditional old-time practises, it seems to have gone the way of all flesh. I think that I would be quite lost without my bottled water when working at the organ during the week and, just lately, during services. Perhaps because I'm over 60 ?
emsgdh
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I agree but, to this we've come ?
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WOW !
I thought these things only happened in the US.
Of course, the clergy are to blame.
I know this is an easy target to hit, but I did want to share a recent experience with the board as it crystallised so many of the problems we seem to face when wishing to be taken seriously as musicians.It is many years since I last played for a wedding. Having given up my full time organist's job and started a family, and having been given the run - around by too many brides over the years, I decided that I valued the time with my family at weekends far more than the fee.
However, I was recently asked to play for a wedding at my local church. After some consideration I agreed to play. Balancing all the factors I have mentioned above, I asked for a fee which some might find high, but which I regard as a respectable reflection of my professional ability. The bride had no hesitation in agreeing.
I was first contacted by the bride 6 months before the wedding and suggested a timetable whereby we worked towards an order of service, with all music being agreed at least 8 weeks before the date. I reserved the right to charge a little more if I had to buy and learn a piece specially.
I offered to meet the bride, who lived locally. She never got round to this, although we exchanged ideas regularly by e- mail.
I pointed her towards various wedding CDs and sent her internet links for appropriate pieces, none of which she seemed to understand.
Eventually, after some gentle suggestion from me that with a week to go we really ought to be finalising the music, she said that she liked a piece called 'Remembered Joy' which she had found. No composer, link or reference was given. After some investigation it turned out that this was a piece of, bluntly, hotel - lift muzak on the site of an American wedding organiser. I explained that if she could have got me the music in time, I would have been prepared to play it but, sadly, I could not guarantee to get the score from America in the 4 working days left to us.
Eventually we agreed on fairly standard repertoire.
On the day, I started to play introductory music for 20 minutes before the service. The bride eventually arrived 35 minutes late which meant that I was playing for nearly an hour before the service started.
The congregation started to drift in with about 10 minutes to go. In many years of playing the organ I have rarely heard a congregation talk so loudly, including numerous mobile phone calls (which continued through the service). The only time they stopped was when I paused between pieces. As soon as I started the next piece, they started to talk again.
I played Lord of the Dance and Give me Joy in my Heart (about which much has been written elsewhere on this forum). No - one sang.
During the signing of the register, it was announced that the bride's niece would sing a song accompanied on the guitar by her boyfriend. It was also announced that after this, I would play, as requested, Jesu Joy of Man's Desiring. The girl sang nicely, without it being exceptional. The congregation sat in perfect silence, and burst into a storm of applause at the end.
The second I started to play Jesu Joy, they all started talking again at the tops of their voices.
As I hope you will see from the above, I am not a prima donna either musically or liturgically, and I am more than happy to bring music to people where they are rather than expecting them to fit in with my tastes. However, this service highlighted for me so clearly how as organists in church we are so often not regarded as serious musicians, but at best labourers who, it is assumed, will provide a professional service without for a moment either that musicianship or professionalism being acknowledged.
When I recounted the story to my wife, she mentioned that the day before, You and Yours had featured an article on 'the organists fighting back', the gist of which was that some organists refused to reduce their fees when vicars tried to offer cut - price weddings to prospective brides. In full credit to the priest of the church, when he first gave me the bride's contact, I asked him if I was free to name what I considered a suitable fee, and he entirely supported my freedom to charge whatever I wanted.
As you may imagine, the experience gave me no reason to change my views about playing for weddings and I imagine from now on, unless I am asked to play for family weddings (which always gives me the greatest pleasure) they will not feature in my musical life.
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Oh dear! This is such a difficult category. How do we measure the worth of one against another?
There are so many reasons why an instrument is remarkable; rarity value, authenticity, tonal qualities etc etc.
The organ of Halifax PC is now almost unique, for apart from the new Walker quint mixture of the Great, it is almost exactly as Arthur Harrison left it, including the earlier Snetzler pipework.
The "Grove" organ of Tewksbury is probably the one which has the greatest tonal impact of any, and not only that, it is the "Magnum Opus" of a company which didn't survive very long, who worked in a unique style all their own.
Unfortunately, I don't know the organ at Romsey Abbey, so I cannot nominate it, but it certainly enjoys a fine reputation.
I like Hexham, which is the ONLY Phelps instrument, and the only modern American neo-classical organ in the UK, whatever the sources of the various bits and pieces may be. (I can't imagine that they were all shipped over in crates, but I may be wrong).
Bridlington and Bath I haven't heard in their latest re-creations, so I would have to pass on those.
I think my personal favourite would have to be Beverley Minster, which is just one of the most musical of instruments I know, containing historic pipework which hasn't been ruined and which carries the tonal authority of Thomas Hill. It is also has the most beautiful organ-case in a quite astonishingly beautiful setting.
It's that combination of things which clinches it for me.
MM
SOOOOOOOOOOOOOOOOO glad that someone remembered Beverley. To my ears, it's one of the finest organs in England.
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This news gives me quite a pain.
I'm deeply chagrined at this news. When I think of what so many of us endured at the hands of that infantile crack-pot from the states, Steve Bournais, and for months on end, Paul is hardly in that class. I, for one, will miss his contributions greatly. In the matter of Nicholson's, it sounded to me that, whatever Paul's intentions, he was mis-informed. This has happened to all of us at one time or another.
Adieu, Paul.
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Hugh Blair was in his 30s when he left Worcester. What of the remainder of his life ? Was he active as an organist and/or composer ?
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Although it has become almost automatic to discount and debunk the Dupre editions, esp. the Franck, I find the Liszt simply wonderful. Whatever its real or imagined shortcomings, it organizes and makes cogent works that can tend to be a bit loose and chaotic. The the fingering and pedal marks are terrific.
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I would second Colin Harvey's suggestions to the letter.
With the exception of the 16' pedal thing, I use the Rutter edition and do almost exactly the same, and I'm now inclined to follow his lead re: the use or no of 16' pedal stops.
If you take this advice, you'll find that all will be well. Anything else will make itself apparent at the "dress" rehearsal. At that point it will be a simple matter to make necessary adjustments, however slight.
Good luck.
I would second Paul Morley - the Rutter edition is excellent: it is basically the original (1892?) Faure organ part as he wrote it. Faure's orchestral parts enhance the organ part with the texture of the strings and colours of the brass and woodwind but all the necessary notes are in the organ part.I don't feel it's necessary to play every note when it goes into 4 staves - many of them are lost anyway - it is just there to add to the organ part and your ears will be the best judge - I feel parts like the cello lines and of course the Trumpets in the Dies Ira should be added. John Rutter's notes in his editorial sum up exactly how the 4-stave sections should be used.
If I remember, in the sanctus I play the bottom two or three of the sustained notes on a 8ft stop in the pedals, the arpeggios in the left hand on a separate stop and the solo violin part on a good principal stop in the right hand.
I would strongly recommend listening to a recording with an orchestra to know how to colour the organ part: there's a section towards the end of the Agnus Dei that has a superb Trumpet/Tuba solo in the tenor before the recapitulation of the opening and personally I feel a lot of music is lost if it is left out. However, it's not there in the organ part but I've written it in to my copy.
The other thing I would second in John Rutter's editorial is to be quite sparing in use of 16ft pedals. I only use 16ft pedals when the double basses join the cellos on the bass line.
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Dear fellow member:
A couple of things:
This is a job for CYNIC. He's forgotten more about this subject than the rest of us will ever know.
You may find my opinions out of step with current thinking, but I'd prefer a third 8-ft. stop on the Gt., a Dulciana, perhaps, to anything higher that 4-ft. Chamber organs don't require much upper work.
It would be nice to have a 4-ft. Principal on the Gt. I like seeing the Clarinet there, as well.
Cornet on the Sw. nice, but I don't think the Trumpet useful in this context.
One must protect the ears in a small space.
Just my thoughts - nothing carved in stone.
emsgdh
My brother-in-law is renovating his house and has decided (after years of fiddling) to have his house organ rebuilt and completed. (No, he is not a professional musician but high up in medical circles). So sit back and relax, pour a drink and get out your pencil and paper. The following is an extract from correspondence between us about the current organ; his ideas; and my first proposal. The organ was originally built for a small mansion by a reputable builder.Suggestions welcome!
. . . As suggested I have written below what we have and the future plan so we can work out what exists and what is needed. Current specification:
Great:
Open Diapason 8
Clarabel 8
Clear Flute 4
Super Octave 2
Clarinet 8
Swell:
Open Diapason 8
Liebliech Ged 8 (Pipes are really a stopped diapason)
Gamba 8
Celeste 8
Flauto traverso 4 (Pipes are harmonic from middle C??)
Piccolo (prepared on unit chest)
Trumpet 8
Ped:
Bourdon 16
Flute 8 (12 note extension from Bourdon)
Open Diapasion 8 (Bottom 12 notes from Gt Open the rest from Ped Octave)
Octave 4 (top 1.5 Octaves from Gt Superoctave.
(Brother-in-laws) Proposal:
Great:
Open Diapason 8
Liebliech Ged 8 ( ex Sw)
Princ 4 (ex Sw Open repitched)
Flute Harmonique 4 (ex Sw)
Super Octave 2
Sw:
Clarabel Flute 8 (ex Great revoiced to be increase Harmonic development
Gamba 8 (Revoiced/ Rescaled to make it a true?? Gamba ie increase the body of sound)
Celeste 8
Gemshorn 4 (Need to be sourced)
Flautina 2 (On unit chest? Need to be sourced)
Sesq II (On unit chest? Need to be sourced)
Trumpet 8 (Increase scale from Treble C up)
Ped:
Bourdon 16
Flute 8 (12 note extension from Bourdon)
Open Diapasion 8 (Bottom 12 notes from Gt Open the rest from Ped Octave)
Octave 4 (top 1.5 Octaves from Gt Superoctave. Some revoicing of this rank needed)
So left over pipe work is:
Dulciana 8 from original organ
Clear flute 4
Clarinet 8
And my initial suggestion . . .
Great:
Open Diapason 8
Stopt Diapason 8 (fmr Lieblich Ged - Sw)
Principal 4
Fifteenth 2 (fmr Superoctave)
Corno di Bassetto 8 (fmr Clarinet opened up)
Swell:
Claribel Flute 8
Gamba 8
Voix Celeste 8
Gemshorn 4
Stopt flute 4
Sesquialtera II
Trompette 8
Pedal:
Bourdon 16
Bass Flute 8
Flute 4 (from 8')
Choral Bass 4
Any ideas?
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This looks good - very fine sounding organ and player with a good balance of music. One doesn't here much FP these days - I must dig out some of my copies. (Via facebook one can get a ca 15 minute video of organist & producer discussing the instrument and repertoire - I couldn't get it onto here - sorry!)
A
Lovely playing, repertoire and a simply gorgeous organ !
Perhaps Pierre can tell us something about this fine instrument.
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A poster was recently found at the American Cathedral in Paris which was designed to publicise the Lenten series of free organ recitals in the building way back in 1949.
The list was as follows;
March 4 - Charles Doddesley Walker, Organist of the American Cathedral
March 11 - André Marchal, Organist of Saint-Eustache
March 18 - Jean Langlais, Organist of Sainte-Clotilde
March 25 - Marcel Dupré, Organist of Saint-Sulpice
April 1 - Olivier Messiaen, Organist of Sainte-Trinité
April 8 - Maurice Duruflé, Organist of Saint-Etienne-du-Mont
And all of the above in a church advertised as being heated!
Posterity doesn't seem to say much about Mr Walker's competence or otherwise but the other five make for a pretty interesting line-up.
What an era in the land of giants.
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Ignoring the state of the organ I think this is appalling and I can't understand why this gentleman is so lauded.
One hardly knows what to say or think about this. The word shocking comes to mind. Having never heard this much lauded player until now, is this performance typical of his usual standard ? Perhaps an attack of nerves caused him to play faster than he was able and to so mis-represent the composer's intent. False notes notwithstanding, he is very free with the score, at least as I know it.
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I do a performance every year, on Good Friday, with the same choir. The venue changes around rural churches in the diocese who are usually very glad to have a high quality musical devotion come to them on Good Friday afternoon. We use top-quality soloists. Afterwards a few of us adjourn for a fish supper.
I realise I am in a minority here, but I find the Stainer extremely well written, apart from the odd moment. It tells the story without leaving too much out, and does so in under an hour with some sublimely beautiful musical moments and (I think) a very moving ending.
I'd far rather hear it done superbly than an indifferent performance of St Matthew or St John passion, and I don't suppose I'm in a minority with that one.
Very well put. Couldn't agree more.
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Dear Discussion Board:
I've been listening lately to some rather large-scale versions of voluntaries by Stanley and Greene as played by Drs. SDB, Marchant and others. Of course they are period pieces in every conceivable way, esp. registration, BUT, I enjoy them hugely.
I own the respectable two-stave versions and play them.
My questions is - do they exist in these much grander, filled-in, fleshed-out versions or have the above named great men done the job themselves ?
In times like these one sorely misses the departed CYNIC. He knows everything. I haven't ruled-out writing him but wonderful if the board could help with this query.
Thank you very much.
KMW
Staten Island, NY
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Dear Peter:
Panic is something that can afflict us all and at the most unexpected moments. Deep breathing as well as very careful prep are your best bets. Deep breaths will calm you and the knowledge that you've prepared carefully is good amunition against these things.
Unless the affair is in a garden or in a private club, that is to say in a secular venue, avoid at all costs playing "I Watch the Sunrise."
God will bless your work.
Good luck.
emsgdh
I have been aware recently of increasing nervousness in the organ loft, but only under certain circumstances. Some of you know the instrument I play; it is in a fairly high west gallery. What I have been experiencing recently is what might be described as mild panic attacks but ONLY when I am on my own up there playing for weddings and funerals, causing me to make errors in the simplest (and lousiest) of hymns such as I Watch the Sunrise; I have also apparently been speeding up at such times. This has, unfortunately (or perhaps fortuitously), been noticed and commented upon by members of the congregation, but this has had a knock on effect so that I received a kind but pointed dressing down today when I was told that two people complained about my tempi at yesterday's Mass. I have also begun to experience slight feelings of unease at the sung Mass, whereas previously this had not been the case as the choir is there as well so I had human contact rather than being on my own.
Curiously, when I am doing my daily practice (usiually an hour or two) I am in a completely empty church and find myself totally relaxed.
If I am playing for a funeral or wedding and Jane is with me I am similarly relaxed.
To recap - on my own but with a congregation downstairs I get nervous.
On my own but nobody there except me I am OK.
Any reason for this? Have I thought myself into a psychogical problem?
Your thoughts would be very welcome because at this point I am getting quite worried.
Thanks
Peter
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Oh, I do sincerely hope he won't!
Yes, I see your point.
It's a pity. The church looks to be a beaut.
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To this we've come. May God have mercy.
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George Thalben Ball
G D Cunningham
Douglas Hawridge (Royal Academy of Music)
Peter Wright (of Southwark)
Daniel Chorzempa
Carlo Curley
Virgil Fox
Roger Fisher
(Dr Thalben Ball and Douglas Hawkridge were both first study pianists, destined for a career on the concert platform.)
The list is endless. Not everyone accepts the reason - it has been rehearsed elsewhere on this Board.
Barry Williams
With the very greatest respect to Barry Williams, I must say that Carlo Curley does not belong on a list alongside Dr. Ball, G D Cunningham, and, in particular, Daniel Chorzempa. These three gentlemen all possessed virtuoso technique of a very high order. In short, they were REAL pianists, able to play the repertoire at a moments notice, and with a beautiful tone.
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How did subsribers feel about the promotional CD that came with the latest issue? On the whole I liked it. Actualy I thought this one of the better issues for a while. I very much enjoyed resdig the piece on Iberian instruments, having lived in Spain for a while. The article by Rosemary Parrott was both thoughful and thouht provoking. In all, a fine edition of a journal which has seen its ups and downs recently.
Peter
I found the enclosed CD, generally speaking, unfortunate.
The tone and general feel of the issue is certainly improved. May it continue. It had such a wonderful spirit in the Paul Hale days.
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I always play the Garth Edmundson (sp.) Vom Himmel Hoch toccata.
People seem to enjoy it and it does make an organ sound its best.
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Our host has explained the reasoning behind this decision elsewhere on this board. If no one else locates it before I return from teaching, I shall attempt to find it for you.
The old pipework has been stored carefully in the cathedral, in order that a reversal could be undertaken in the future, should it be desired.
I'd be grateful to read the whole of our host's description of the recent work. I can't seem to find it. Although I liked the sound of those old Tubas, I'm more than willing to defer to Mr. Mander's judgement in the matter. Anyone with the hands-on experience of making an organ "go," esp. one so important, must be trusted absolutely.
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The cathedral's web-site has a description of the organ that mentions the Dome Tubas. They are new. Why ?
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I'm really beginning to appreciate you, Pierre.
Good one.
St Mary's RC Cathedral, Newcastle-upon-Tyne
in The Organ
Posted
Go to the head of the class.
In the seven or so years I've been reading these remarks, NONE have compared to your last. It's the funniest thing I've ever read.
KMW