ajt
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Posts posted by ajt
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Yes, exactly...
I assume Twyford went with equal?
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They exist in as much as they are reffered to, by others. As I said, I was wrong. It is a mispelling.
Thank you.
Best regards,
R
No worries, no stress here. Like I said, my initial reading was that you were categoric. Doesn't look quite so definite when you pull the quote out on its own.
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As to Kimberger, did I not say I have seen it, but that I did not know if Kirnberger and Kimberger are one and the same?
[Edited]
You said:
Kimberger III does exist. There's also a Kirnberger II and I, but whether these are one and the same with Kimberger I know not.I read this, originally, as stating categorically that Kimberger does exist.
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It was a different temperament to now, most accurately heard on period instruments.
How can a violin be "in a temperament"? Regardless of period? I'm not trying to be argumentative, I just want you to explain this to me, 'cos I really don't understand! Surely a violinist, regardless of the age the instrument, plays a third as a third? They don't think, oh, I should be playing in Werckmeister, and I'm playing Db to F, so I must make the interval x beats wider/flatter than pure, do they?
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Re the Beethoven symphonies, they are to heard in unequal temperament
It's a very very very impressive orchestra that can play in unequal temperament - naturally we try to make every interval pure, same as singers.
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What name for Organists ? A Melody - A Cluster - A Gaggle - A Laughter - A Fellowship ?
A bitch of Organists? A murder of Organists? A Mixture of Organists?
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I think it is a spelling variant. I have often seen it spelt both ways, even by Scholars. The link below will, I am sure, settle the debate! (note there are two spellings in the article!.....)
R
It's just too close to be true. Clearly a typo. As others have said, if Kimberger was significant enough to have 3 temperaments, it'd be in Grove.
I'd give in graciously if I were you
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It does us ok.
AJJ
Even though all the arrangements, even of the modern stuff, are really poor, and the words are butchered? Take a look at O Little town for example - he's swapped round the How silently verse, for a start!
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If you are looking for a comprehensive hymnal, Laudate is pretty good, excellent value for money and the congregation copy has melody lines for many items. It has most of ther trad hymns and many of the best of the new but it does have some rubbish unfortunately - including, inevitably, I Watch the Sunrise and How Great Thou Art. But of the whole is a a good production.
Peter
And other rubbish such as "On Eagle's Wings". There's a lot in it, and a lot of rubbish too.
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Surely they shouldn't be even considering playing this unless they are FRCO standard, especially with those crazy pedal scales towards the end!
Incidentally has anyone had a family bring along a guest player who is a cathedral organist or equivalent?
Sort of - I sang at a friend's (Adrian Bawtree, another very good organist) wedding, who had Andy Lumsden playing. Andy did improvisations in a French style on Rhubarb & Custard before the service... I then had Adrian Bawtree play for my wedding - no big organ works, though, bits of the Monteverdi vespers instead!
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I loved the old organ, as a sound, but if one were to start from scratch, would one want to build in that style today?
Yes! We've discussed on other threads what horrors get born otherwise...enough said. We go for chiffing flutes, spitting diapasons and thin brash reeds nowadays and wonder why it leads our English choral tone astray.
I think you need to look around you. The 60's (and, for that matter, the 70's, 80's and 90's) are over
Seriously, why are we bothering with this discussion? We've gone over this ground countless times.
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Its not a service that has stuck in my memory, and I must say that I've found the accompaniment alone to be rather dull and uninspiring to learn (though, thankfully, very straightforward), so I look forward to hearing it with the choir (RSCM Cathedral Singers in Tewkesbury Abbey) tomorrow.
The accompaniment is fairly, err, standard. With the choir, there are some good bits, notably the world without end/amen from the mag, but it's not Howells at his most inspirational.
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Gentlemen can we stop the bitching on here ! And stop generalising.
I don't think we are bitching. We were, I thought, trying to discuss some of the factors as to why the organ isn't popular. You raise many valid points too.
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I have, on occasions, requested using the sermon slot for teaching new music for the congregation. It seems to work, especially when the hymn (or whatever) is then used later in the same service. For some reasons this scheme always seems popular with choir and congregation members....
A
Inspired. I shall suggest it forthwith and introduce new hymns at every service.
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I saw a post by a 16 year old organ student on another forum, saying he's only just started learning, but would really like to experience a big organ. So I dropped him a PM and offered to let him have a go at my church. He was keen, but I get the sense (unsaid) that his mother is not.
I can understand her concerns, but I wonder if this kind of thing is an image we organists have to overcome? i.e. we have an image as a bunch of weirdos, so it's not cool to learn the organ, plus the more sinister things that people associate with church musicians, rightly or wrongly.
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Does anyone else share my dismay about finding such a blinkered attitude in an institution supposedly dedicated to education?
Yes.
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The weapon of choice - Complete Mission Praise, with the intention to replace A and M NS.
Mission Praise (to be said in your best Brum accent, please) isn't as bad as some - it has many of the trad hymns in, although the arrangements aren't stunning. The more modern hymns are usually quite well arranged or in their original form. Unlike the Mayhew Hymns Butchered and Badly Arranged (Old & New, in PC speak). It's an abomination, not only of music, but also of words.
At a previous church we used MP and AMR - we wouldn't mix them up in a service (at least not for the congregation). It worked quite well.
Whatever happens, don't buy Hymns Old & New.
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Carrying on the Embarrassment thread...
Andy Lumsden came over to have a look at the St. Mary's organ this morning, and, as ever, played like a genius.
I made the mistake of trying to play, and misguidedly chose Widor VI.
I immediately donned my finest boxing gloves and flippers. Doh!
Andy was, of course, thoroughly charming about it, but I was soooooo embarrassed.
I'm sure I'm not unique in this regard, but I really go to pieces when I think someone is listening and judging...
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it can stand away a little from the tutti in French repertoire where the manual parts tend to be higher and it is certainly true that a second pedal reed (and 32' extension of it) would be the one additional set of pipes which I feel would be of considerable use. I am interested by the comparisons with the old Worcester organ - they are like chalk and cheese.
Truro is frequently compared to Salisbury, for obvious reasons. What do you think the relative merits of the 2 are? Is Salisbury that much more flexible for having an enclosed solo?
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*It sounds like a bit of a cross between Bob Dylan and Mark Knopfler....
Which bit of a cross?
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I think that if Hele did have a shot at Truro, Manders will almost certainly have returned the original tone as much as possible? Winchester was also got at by Hele and sounds radically different post the Harrison work, far more Willis than it did in the 60s.
I still can't decide if I like Winchester. I've not really played it much, but having just conducted for Ash Wednesday (name dropping here - it's not often visiting choirs get to do the Allegri in a cathedral!), with David Coram playing, I blew hot and cold.
He, as always, played very very well (it's so nice to have an accompanist that's both solidly reliable AND exciting at the same time), but didn't seem to get his usual large variety of colour out of it - David, was this due to time on the instrument, or just because it wasn't inspiring?
My impression is that it's just not an inspiring instrument - there are some bits of it which are recognisably Willis, but it just seems so bland ; beautifully tuned and very comfortable, but bland.
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Any one have first hand experience with the terraced consoles in Paris. Do the stops move from lowest (at the key cheek) to the highest as you move out along the arc. A builder, who shall remain nameless at the moment, says he builds them going the other way AS WELL AS outlined above. He builds both! ….highest pitches closest to the key cheek.
On the internet I can get all the pics I want of some of the famous Paris consoles but no close up of the stop jambs to read the stops… if you have pics of these I would love to have a look - even UK examples would be fine.
Going forwards, going backwards,
WM
Any help - a very small CC in the UK - http://www.cavaille-coll.co.uk/gallery.htm ?
Seems to show lowest pitches nearest the player, higher furthest away.
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It is interesting to know what other people do musically (and otherwise) in a little more detail, if they are prepared to share it.
Sunday: 1030 Eucharist (Sundays 2-4) playing/conducting
6.30 Evensong singing at Romsey
Occasional Mondays - teaching organ
Tuesday - taking church choir rehearsal
Wednesday - taking rehearsals for my chamber choir (http://www.laudachoir.org)
Thursday - Romsey Abbey choir rehearsal
And this is the cut back schedule, on top of working 9-5.30, commuting 100 miles a day, and having a 5 month old baby!
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I've tried playing the tune over a few times or improvising on it (or a mixture of both) before the service, but in reality too many people are nattering noisily and no-one ever takes any notice of what I'm playing before the service !
That's easily fixed if you have an organ capable of making enough noise - doesn't need to be massive, just enough for you to make enough noise that the congregation feel they have to talk louder than usual, then you just drop the volume right back, and they feel all self conscious. Keep on with this game for a few weeks, then they'll learn. I've not had to use this at my current place, more's the pity - with a plethora of BIG reeds, this would be quite good fun
Gloucester Cathedral Organ
in The Organ
Posted
Presumably if it was going to be unequal, you'd have made a conscious choice to go with it? so it's roughly equal?