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Vox Humana

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  1. There is a church in south Devon that has a serpent affixed one of the pillars in the nave. At least, it did have last time I visited the church. I do indeed. Wild did paintings of some of the royal apartments too. They are all wonderful.
  2. https://www.voxhumanajournal.com/mccroskey2021.html?fbclid=IwAR16FiVQTgKMUrBCBSE3kWpYknBTRTCaxnyaHZmYiAWOCNGCi8goP2K0z40 [NB: Nothing to do with me!]
  3. Were he still alive, I would be interested to hear what Campbell would say about what has been done to the organ he loved so much—from a safe distance. If you want to hear his music sounding absolutely 'at home', search out the late John Porter's CD of music by Campbell, Harris and others. In the Campbell pieces, Porter's playing captures the composer's style perfectly. When I first heard it I could really imagine the old man himself playing. Nevertheless, quite a bit of Campbell's organ music was conceived to be played on traditional Cathedral organs, especially the (old) organ of Canterbury
  4. You didn't mention the most obvious one of the lot, SL: that mass by JSB. Others that come to mind: Bach: 2 x P&Fs from the 48 🙂 Franck: Choral no.2 Franck: Prélude, Fugue & Variation Gigout: Toccata One of Bach's French Suites in in B minor, but I can't remember which one.
  5. I totally agree. My erstwhile lord and master said something characteristically trenchant somewhere about the pointlessness of arranging for the organ music actually written for the organ. He didn't believe in romanticising music that wasn't Romantic. In any case, CC's introduction (if it is his), although enjoyable on its own terms, is over-cooked as an introduction to that Trumpet movement, which it turns into an anti-climax. Stanley's own introduction is a much better preparation - unsurprisingly. Not that I have an opinion, you understand.
  6. The use of 'comprises' in the disclaimer is just as bad: "The information displayed about this property comprises a property advertisement." A body comprises its parts, not vice versa.
  7. A terraced property? I wonder what the neighbours think! The house is advertised for £500k, but the blurb doesn't say what condition the organ is in. I'm reminded of one of my American jaunts. The chap I was lodging with was an amateur organ enthusiast. In the main reception room of his house was a 56-stop/29-rank three manual organ that he had cobbled up from second-hand pipework obtained from the Organ Clearing House, a sort of Exchange and Mart for pipe organs. He was also a dab hand with electronics, so his console boasted such delicacies as a Gt to Sw 2 2/3 and a Gt to Sw 1 3/5 (inten
  8. That will be this one. Now I'm wondering whether whoever was responsible for this was responsible for that awful galant trio mash-up of O Mensch bewein' dein' Sünde gross (https://www.breitkopf.com/bach-edirom/apps/breitkopf-bach-band-7/bwv622b.pdf). Probably not. Actually I like BWV 745 very much. It's always struck me as sounding more like Brahms than any of the Bachs, but that's largely due to the thoroughly un-HIP way I used to play it from Lohmann's edition, which added its own je ne sais quoi.
  9. He already has! Musing Muso had an interest in Eastern European organs, but I'm not sure how often he looks in here now. The members section seems to have disappeared.
  10. There's a reasonably reliable reference to Bach using a stick in his mouth, isn't there? Forkel's biography, or some equivalent source, if memory serves.
  11. Harpsichord music by Purcell in the soundtrack to Tudor dramas is a fairly regular one. I was very pleased that the dramatisations of Hilary Mantel's Wolf Hall novels did largely have suitable period music—though having a votive antiphon by Cornysh during a mass was very naughty. (I know, I need to get out more.)
  12. Some years ago, when I was researching the musical history of the two main pre-War churches in Plymouth, I found that the newer (and lesser) of these churches, the now-ruined Charles' Church, acquired its first organ (a two-manual Bevington with an octave of pedal pipes) in 1846, to replace the cello or gamba (described variously in the accounts as "bass viol" and "violin") that had previously supported the gallery choir. Prior to that the only interest that the vestry had ever taken in music was to resent the money that they spent on it and, at one point, to advertise for a new choir (reason
  13. Peter Le Huray's Music and the Reformation in England, 1549-1660 quotes Archbishop Laud asking the Dean and Chapter of Salisbury in 1634 to ensure that the choir did not have too many tenors "which is an ordinary voice". Charles Butler's The Principles of Musik in Singing (1636) describes the tenor as 'neither ascending to any high or strained notes, nor descending very low, it continues in one ordinary tenor of the voice and therefore may be sung by an indifferent voice." Le Huray concluded from these remarks that the tenor was the commonest voice. Dr Andrew Johnstone of Trinity College, Dub
  14. Yes, very interesting. It seems that Goss's tune appeared in the third edition published in 1869 (according to WorldCat). I was aware of the "Frail as summer's flowers" verse since Goss's manuscript of it was reproduced many years ago in The Musical Times, but I did not know that it had ever been published. (The verse is included in the Baptist Hymnal, 1900, but it uses the four-part harmonisation of the tune). I had always assumed that Goss's tune had been part of Hymns Ancient and Modern ever since the first edition, but that evidently isn't the case. The early editions only have 'Alleluia
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