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innate

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  1. innate

    Colston Hall

    Informative and thoughtful comments, Damian. I would be against changing a name just for change’s sake but I would support a name-change for Colston Hall. It is a fine building and I played there in a tremendous concert that marked the end of an extended education project by the English Chamber Orchestra in schools in the more deprived areas of Bristol featuring hundreds of local school children. Sadly we didn’t use the organ on that occasion either!
  2. Yes, good advice from Colin re copyright texts. I’d be tempted to look in old service books eg the Liber Usualis and the Book of Common Prayer. A translation of the old English Use (probably Sarum) would be good too, but find one that’s out of copyright.
  3. For decades BBC Radio 3 used to credit the organist in an orchestra, which was nice but not always justified by the significance of their contribution. I think some of the organists were, on occasion, slightly embarrassed. I have no idea why it ever started but it might well have had to do with just one musician’s contract and a precedent was set. Nowadays I’d be amazed if anyone were able to negotiate billing for an orchestral date. Remember when there used to be announcements at the end of TV programmes? Peter Sallis is currently appearing in Run For Your Wife at the Aldwych Theatre in Londo
  4. Just a few thoughts. Bach would not have knowingly broken a law on copyright infringement so had there been such a law in his day he would either have not used the music of other composers in his own compositions and arrangements or he’d have obtained the relevant permissions in advance. North America: I don’t think Canada and the USA have the same copyright laws. The USA situation is, I think, 95 years from publication. Under the older law it was possible for composers to outlive the copyright on their music eg Irving Berlin and Alexander’s Ragtime Band. Any work published in the USA bef
  5. I have several volumes of the NBA that are brown—both paper cover and hardback. Slightly annoyed when they changed to blue! Although the blue is harder-wearing.
  6. At the risk of derailing this great main topic, this has always struck me as a very small instrument to have a 32': http://www.npor.org.uk/NPORView.html?RI=N00539
  7. I’ve been interested in hearing this instrument in the flesh http://www.willis-organs.com/florence_general.html but haven’t had the chance yet.
  8. How old was Walton when he composed his “Drop, Drop Slow Tears” Litany, about 16? That was done without a composition teacher but Walton had already been playing the Stravinsky Ballets in piano duet or two pianos with the Dean of Christ Church. And of course he’d been singing a lot of fine anglican choral music (and probably some not so good stuff) for six years day in, day out.
  9. I absolutely agree; I think the organ, played sensitively, can make a very positive contribution to a “mixed” consort of the type I often work with, eg trumpet, trombone, violin, cello, acoustic guitar, cajón.
  10. Don’t think of it as hard. Sure, it’s got a lot of fast notes which are supposed to be sempre staccato, but start well under speed. There are some particularly awkward patterns—I suggest you don’t settle on a definitive fingering for those straight away—get the music in your head first. Registration is awkward, don’t worry about that while your learning the notes. Some people swear by switching the hands over near the end when the LH is high up—that’s a matter of personal preference. A little as often as you can would be my recommendation. Start hands separately!
  11. That’s a lot of money! But I suppose a reconstruction, with all the research involved and not being able to use many of the standard procedures of the current builders, might be double the cost of a normal new instrument, and it does have a very large number of 16' stops (6 on the manuals and 5 on the pedal) and 3 32' stops on the pedal.
  12. I was being sarcastic. I am a serial offender too. My Music History tutor criticised me for my “butterfly brain” and nothing has changed in 40 years since.
  13. Where’s the discussion policeman when we need him! Blimey, I thought Usenet was bad in the old days.
  14. I was very interested in the thoughts behind deciding on a 1-manual instrument. There is indeed a huge repertoire that would be playable on this instrument, especially with the low G and A.
  15. “E major is much more attractive than F”—at the risk of opening a can of worms <sound effect> this is debatable. Bach’s Italian Concerto, most of Brandenburg Concerto No. 1, Beethoven’s Pastoral Symphony, his string quartet Op. 59 No.1 and his “Spring” sonata for piano and violin, much of Handel’s “Water Music” and Messiah, Brahms’s 3rd Symphony, Dvorak’s “American” string quartet, the second movement of Messiaen’s “L’Ascension”, and a host of other pieces would, I suggest, prove the opposite. There is nothing intrinsic about E or F, particularly in 12-tone equal temperament, which is wh
  16. I can’t link to the story, it’s behind a paywall, but there’s an article in today’s Times by Richard Morrison that says that because of a massive deficit St John’s, Smith Square is likely to close next year as a concert venue, 50 years after it opened. I know the Klais organ is generally felt to be over-loud and too large for the space but it would be a double tragedy if such an instrument could not be found a new home.
  17. As long as the organ is close to 440Hz at 18ºC you should be ok for tuning. Competent trumpeters should be used to playing with organ.
  18. There are headphones by the console in Windsor. I’ve always been too scared to use them but it generally takes me at least one service there to play far enough ahead of what I can hear for the conductor to stop nagging!
  19. I agree with what’s already been said. If you want to stretch yourself try playing hymns as four part pieces. The basic way is soprano in the right hand, alto and tenor in the left, and bass in the pedals. Once you’re secure on that start mixing it up. Soprano in the pedal, bass and tenor in the LH, alto in the RH. Etc. One common fault in organists is a weak sense of rhythm. Take any chance you can of playing in situations where it’s vital that you keep good time. Don’t just play the organ, play piano in theatre shows, play percussion in orchestras. And sing. Even if you have no tr
  20. I must confess that I’m very keen on a 4' Clarion (or Clairon). Not so keen on Clarion Tubas. There seems to be a bit of a trend at the moment for no manual 4' reeds on even quite sizeable 3 manual instruments, eg the one in St George’s Hanover Square. http://www.npor.org.uk/NPORView.html?RI=E02004
  21. I’m no expert but I was under the impression that most treatises on continuo realisation on keyboard instruments generally indicate that the left hand plays the bass and the right hand “fills in” the harmony. If the right hand is busy playing a cornet or corno or flute obbligato then any harmony notes can only be added by the left hand, which would seem to me to mean that it is not going to be continuous added notes but merely, as Vox Humana says above, occasional left-hand octaves and left-hand chords.
  22. I’m in sympathy with your concerns. Three tierces, separate or in Cornets, would be useful, if only for that movement in Les Corps Glorieux.
  23. Maybe there are other “pure” intervals that could be used to similar effect.
  24. This sounds like a beautifully “pure” and musical approach! Thanks for your explanation, Friedrich—I suspect many will have been enlightened by it.
  25. If the two ranks are of identical design, construction, winding and voicing how can there be any difference if no other stops are being used to give a sense of the pitch of the instrument?
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