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Everything posted by innate

  1. When I was there as an undergraduate 40 years ago the choir would normally sing at the West End but they were always at the East End for the Thursday Evening Eucharist (where the Mass Setting was always unaccompanied), which certainly gave the service a Mediaeval feel.
  2. That secondary definition may be how some use the word but it’s kind of the opposite of its original meaning and its general adoption would render the word ambiguous and therefore useless.
  3. Let me know when Nicola Benedetti plays a recital of Brahms and Stravinsky on an electric violin or Yuja Wang plays Debussy and Rachmaninov on a digital piano. This really isn’t a question of being “truly authentic”—we aren’t demanding Liverpool Cathedral has a mean-tone mechanical instrument at its West End nor are we expecting Benedetti and Wang to play Bach or Scarlatti on harpsichord or gut-strung violin (although Nicola has done just that!), just on instruments whose constituent parts excite the air and interact with each other and the audience in a natural, musical way. if you’re getting epsdis ffo maybe the problem is in you.
  4. Sorry, I meant to say that Anna was talking on BBC Radio 3: https://www.bbc.co.uk/sounds/play/m000n6bt
  5. Contrabombarde—I know exactly how that felt! I did a 2 minute version and it was still too long. The next day I heard Anna Lapwood relate that she once played it at the start of a wedding—she could see the West End and the East End from the console but not the middle bit of the bride’s route. She’d worked out the length of music that was needed and started when she got the signal from the clergy. At the end she could see no sign of the bride. So she played it again. Still no sign of the bride. And a third time. Turned out the bride had stopped halfway for photos!!
  6. Thank you both, Dafydd and Jonathan for your helpful suggestions.
  7. I’d love to hear from organists that have found good, musically convincing, cuts in this popular Wedding prelude. I think I need it to last about 2 minutes; and I probably play it at a less than virtuosic tempo.
  8. I’m fairly sure that the old “blockwork” organs had no sliders; if there was wind and you put down a “note” all the pipes sounded. When they introduced the first slider it would, I imagine, have had the function of “stopping” some of the pipes (probably the highest ones) sounding so the lever was probably called a stop from the very beginning. Whenever that was.
  9. I don’t think this is the right place for a discussion about mask-wearing in general. There’s plenty of information both authoritative and bonkers easily available.
  10. That’s going to be our plan too, when services are inside. We hope to be outside for many of the Sundays from now until the end of September though and we will encourage everyone to sing. Social-distancing: I think our plan is to have the North side of the church to be a free-for-all and the South side to remain for those who wish to maintain social-distancing as before with alternate pews roped off.
  11. My favourite Gordon Reynolds quote is the definition for tenor: There are either too many or none at all. When there are none it leaves an aching void; when there are too many it fills the void without removing the ache.
  12. I found this guided tour of the latest instrument from Juget-Sinclair very interesting.
  13. You know that movement in the original orchestral L’Ascension that, for whatever reason, Messiaen decided not to rewrite for organ which meant we got Transports de Joie? Here are those orchestral Trumpet and Cymbal alleluias on the organ in an astonishing performance of his own transcription:
  14. I’ve often used the Cornet V + Trumpet 8' to serve as a “super solo reed” in pieces such as the Tippet canticles, especially on two organs that no longer exist where I was on the staff: the HNB at Exeter College, Oxford and the HNB at the Tower of London.
  15. I used to play orchestral piano and celeste occasionally for the English Chamber Orchestra. I viewed the owner/manager’s attempts to belittle my contribution by claiming I was being paid so much “per note” as demeaning.
  16. innate

    B minor

    The Duruflé Toccata is in B minor and works well on Easter Day. I have never heard of a connection between the Bm P&F and Palm Sunday. The Toccatas/Fantasias and Fugues seem to me to have no religious significance.
  17. Almost 100% certain it wasn't Biggs. I’m wondering if it might have been Christopher Dearnley. I had only just started learning the organ!
  18. I remember a recital in Westminster Cathedral c. 1975. I’m ashamed to say I can’t remember who the recitalist was—someone famous. The first two pieces were by Byrd; played on loud chorus reeds.
  19. That’s a whole recital—well done!
  20. Did anyone else play this today? Apparently musicologists now ascribe this to CPE Bach and the harpsichord. I must say the Peters edition doesn’t make it particularly clear which notes are for the pedals.
  21. “Most men are baritones” is a reason to suppose that Tudor choral pitch was pretty close to A440. I can’t remember now which contemporary writer noted that “the commonest [adult male] voice is Tenor” which would equate to a modern baritone.
  22. At the risk of meandering even further than normal from Pipe Organ-related matters one of the early discoveries of making movies of musicals was that the traditional soprano and tenor roles that carried so well in theatres didn’t work well on screen, particularly when the soprano was in close-up. As a result in the 1936 film of Show Boat all the soprano songs are transposed down by about a third. Many female pop singers sing in the low alto or tenor register and many “worship” songs are similarly pitched. It’s also true to say that most untrained singers don’t fit into the traditionally gendered SATB categories. Tastes and physiologies have changed but life-styles and musical experiences have changes too.
  23. No hint of a gathering note (chord) in those hymns; the pace isn’t RVW slow either.
  24. I can imagine that might be the result of not-so-subtle work-place bullying by a DoM. “I’m not sure you realised, but you managed to end the Second Collect a quarter of a tone sharp this evening.”
  25. I’ve played those variations without shame at the funerals of many older people including my 85-year-old Dad. Even the oldest amongst us are young in comparison to the life of many church buildings and organs, oak trees, mountains and rivers. It’s cool. And the music is wonderful.
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