MichaelDavidson
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Posts posted by MichaelDavidson
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I think that I would have to nominate "French Organ Music" recorded by E Power Biggs sometime in the 1960's (or possibly very early 70's) on the utterly un-French instrument of St George's Church, New York (a late 1950's Moller designed by Ernest White which even by 1960's neo-baroque standards was a real screecher).
The program included the Widor toccata, Finale from Vierne 1, Alain's Litanies and the Dupre Variations on a Noel.
A more unsympathetic combination of player, instrument and repertoire would be hard to find.
The Vierne sounded like breaking glass, punctuated by falling masonry with the trills in the right hand creating an effect almost indistinguishable from a high speed circular saw cutting wood.
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Crumbs!
So, basically, anybody is entitled to record a concert without the permission of the performer(s) concerned as long as it's for their own use? This just doesn't seem right!
I think that there are lots of ways that you can deal with this.
While it may be correct (and I am not 100% sure that it is) that it is not "illegal" per se for someone to record a performance for their own personal use, that doesn't mean that there are not ways to prevent this from happening.
The easiest way would seem to be for the owners of the venue to simply make it a condition of attending the performance that members of the audience are not allowed to make recordings. This is normal practice at essentially all professional commercial theatrical and musical productions. In those cases it is usually part of the terms and conditions that you agree to that are part of the contract established when you buy a ticket.
Even at a free concert in the local village church where nobody has bought a ticket or paid for admission, I don't see why the vicar cannot establish a rule that says that recording without permission is not allowed. If people ignore this admonition then you could ask them to leave - or just stop playing ...
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Nice Tuba!!
AJJ
Yes, nice tuba, but also very nice foundation stops as well.
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I discovered this (click on 'Beaminster') - my local Organists' Association is visiting later this year. I had not heard of these builders though the Renatus firm seem to be 'fronting' them over here. has anyone had experience of their work?
AJJ
No, but with 200 instruments in 17 years they certainly seem to be turning them out at quite a rate!
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I'm guessing, but I would have thought this bid is being driven by the Association of Independent Museums rather than by the cathedral. But either way, yes, it does look to be a bit of a rip-off.
Yes, this whole thing sounded to me like a "Charity Auction" - something quite common in the US - where in order to raise funds for a particular charity various companies donate goods and services which are then auctioned off to the highest bidder with the entire proceeds going to the charity. The amount bid is often many times in excess of the fair market value of the item.
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The Vox Humana swell box (!) retains the original trigger pedal.
I see from the specification that not only does the Solo Vox Humana have its own swell box, it also has its own tremulant and a thumb piston for the tremulant :angry:
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Of course there are a few 'do not use for evensong' notices on particularly loud reeds (eg the Dome and West End, naturally).
Well, for £2000 the West and Dome sections had better be available ... :angry:
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This is exactly what I thought when I saw/heard it.
That was my initial thought as well.
The sad part is that I think that he probably *could* play it properly if he just had enough respect for the original to take the trouble to learn it ...
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This was a bit like a car crash: I knew I shouldn't have looked, but somehow couldn't stop myself.
Sadly he is obviously quite proficient technically, just seriously lacking in musicianship and good taste ...
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It's amazing, but even the mention of Roger Fisher playing the Reubke from Chester had the hairs standing out on the back of my neck!
The IAO congress in Chester, 1971, is ETCHED on my memory for that one work alone, when we heard a stupendous organist, playing stupendous music on what is a stupendous organ. He was also on stupendous form, having recorded the work for EMI the same year.
I, too, have vivid memories of Roger Fisher playing the Reubke when he gave a recital at Holy Rude, Stirling, back in (I think) 1971 or 1972. He arrived at about 10am on the morning of the recital and spent the next 6 hours going through his program which, of course, included the Reubke. I was page turning for him and got a running commentary on his interpretation of the work (along with quite a few other anecdotes)
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I may be missing some of the point here, but Trinity Wall Street isn't a hybrid - it is an electronic instrument (and arguably one of the very best of its kind) but in no way is it a "hybrid".
Note also that the instrument had various cinema organ sounds specifically added to it for this particular concert.
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Wasn't Dr. Jarvis a predecessor of Ian Tracey, as organist at St. George's Hall, Liverpool?
Not only that, he was also Noel Rawsthorne's first organ teacher.
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Mechlin pedal board. There is no pedal light.
Sounds like a very nice small instrument.
I am, however, intrigued by the "Mechlin" pedal board and wonder of you could describe it since I have never heard of such a thing and cannot find any references to it.
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Perhaps because the instrument is being played in the way the composer intended (assuming the music was written before, say, 1970). Look at the constant stop changes in Bairstow's scores - he must have managed them purely with hand registration.
While I strongly agree with the underlying point being made here, I can't help wondering if Bairstow didn't just assume that there would always be a young Ernest Bullock or Francis Jackson with him at the console to help with the registration
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The same seller's also offering twelve bound volumes of 'The Organ' from 1920 onwards, ref. 130207874228 'at a buy it now' price of £120...
R.
Well I might offer him ten quid for that as well when he doesn't manage to sell it either
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Judging from the list presented, this appears to be nothing more than an odd collection of flyers, specifications and recital programmes; the value of which I would consider questionable and of limited antique value.
Yes - according to the seller it is a collection of approximately 80 brochures, leaflets and recital programmes
which have been bound into a single volume. Possibly some interesting items in there but far from being an
"Organ Building Archive".
I would rather like to have that Binns leaflet / brochure, but not at that price.
I might make a much more modest offer on the item when it fails to sell for its current asking price.
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Yes! But there might be gems there. Anyone collecting archives might usefully write to the vendor and see what's really there - one never knows . . . One presume's from the price that there would be a large quantity
Best wishes
Spot
Well I was sufficiently intrigued by the one of the pictures which showed a drawing of the organ in Queens' College, Cambridge that I wrote to the seller asking for more detail about exactly what this item includes.
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For those interested, this year's Romsey Abbey recital series has just been publicised:
Hope to see some of you there.
David
So, was the 1858 recital really given at 3am?
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There is an overwhelming case for the construction of a free and instantaneous teleporter to St Sulpice on Sundays .
Indeed!
Where else would you find something like this?
Dimanche 15 octobre 2006 (Sunday, 15 October 2006) - 28ème dimanche du Temps ordinaire
10h 30 Messe Solennelle - Organiste : Daniel Roth
Messe célébrée à la mémoire de Charles S. Barker (1804-1879), facteur d'orgues, inventeur du levier pneumatique et de la traction électrique pour l'orgue.
Prélude (10h 15) : Prélude et Fugue en mi bémol, C. Saint-Saëns
Offertoire : Offertoire en la majeur, G. Schmitt
Communion : Cantabile, C. Franck
Audition : André Pagenel
Fantaisie et Fugue en sol mineur, J.S. Bach
Scherzo en mi majeur, E. Gigout
3ème Choral, C. Franck
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This I find quite electrifying.
Yes, absolutely!
I am not a gret fan of Horowitz or of the Busoni transcriptions but that particular performance
is simply wonderful and above all supremely musical.
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It's Sonata No.1, which is on the Priory 4-disc set of Jackson's organ music, played at Blackburn. I have tried to order a copy of it - do you remember the publisher?
Paul Walton
According to this useful document the publisher is OUP.
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If the stories that I have heard about its first performance are even remotely true
I wonder if the last movement of Francis Jackson's Sonata Giocosa might qualify.
The sonata was, of course, commissioned as part of the celebrations surrounding
the completion of the major structural repairs to York Minster and was first
performed by the composer in 1972.
The story, as told to me sometime around 1974 or 1975, by someone who was at
the first performance, and claimed to have seen the manuscript, was that the first
movement was a very neat fair copy, the second movement was a fairly rough
draft, and the third movement was either completely blank or had, at most, a
few thematic fragments. According to this same source, Francis made his own
recording of the performance on a cassette tape recorder so that he could transcribe
it for publication later.
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Here are a few more random selections from YouTube that I don't think have been mentioned yet ...
First a brief piece of French newsreel footage from circa 1930 that contains about 30 seconds of Vierne playing at Notre Dame
Next, two very different performances of BWV 578 (each of which I actually quite like in it's own way)
http://youtube.com/watch?v=sXJ_v9fHqG0
http://youtube.com/watch?v=olfxxNsubwI
Finally, something a little different from the usual "Daniel Roth at Ste Sulpice" videos ...
Gaffes In Publc
in General discussion
Posted
Sometime back in the early 70's I attended a harpsichord recital given by George Malcolm where he played the Goldberg Variations.
Overall the performance was magnificent but, about half way through, things went slightly awry with one of the variations. He played it to the end and then stopped, turned to the audience and said "I'm sorry, that wasn't very good - I'll play that one again" - and he did, and then continued with the remaining variations.