innate
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Posts posted by innate
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But I do find myself somewhat in sympathy with MM's views on Howell's the composer. As Anglican Muzak it is fine, but I have never been able to grasp the point of,eg, Paean and it does nothing for me when heard in recitals. I had always assumed that this was a failure on my part which I should keep quiet about . However, as at least one other person suffers from the same condition perhaps we should form a support group in case there are others out there similarly ashamed of owning up .
I can understand the views expressed above but they no more can be taken as authoritative than mine on symphonic Bruckner or the late John Thaw's on Gilbert & Sullivan!
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One test for a typical English cathedral organ would be whether the Elgar sonata can be successfully played on it.
I'm not sure that there's any fundamental difference between playing Elgar on the Rieger at Christ Church and playing Bach or Rutter on a typical Edwardian 2manual parish church organ. As a player you must use your imagination; the audience will be using their's. All the conservatives that railed against adding mixtures to "Romantic" organs in the 1970's were right to the extent that the organ as it stood had its own integrity. The Rieger too has its own integrity which shines through so long as it is being played without apology.
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You do not need to worry - as I have said, no visiting organist is permitted to play for services at Westminster Abbey!
There, that should be clear enough.
Many years ago I was a treble on an RSCM Cathedral Course at Westminster Abbey directed by John Bertalot. I'm sure the Abbey organists played for none of the 15 or so services we sang there. I can quite believe the rules have changed since then!
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I was disappointed by the volume of the organ in Elgar's Cockaigne Overture from the First Night of the Proms. I gather that at the rehearsal the organist was told to reduce the level, with the result, for me at least, that it was virtually inaudible for viewers at home.
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If the organs of the past had simply been extended by adding new divisions rather than being regularly rebuilt, revoiced, re-actioned, then we would have a much better idea about what the old organs sounded like.
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Incidentally, some people may not be aware that this pitch designation reaches right through keyboard instruments, harpsichord and even piano to some extent, although the string length is not related to the pitch designation.
John Pike Mander
Since their invention, many synthesizers have used 16', 8', 4' to define pitch. This is some sort of international reference system.
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I am due to play the organ part of this cantata in a few weeks time. The plan is to use a standard 3-stop continuo organ, as the conductor thinks the obbligato organ part is playable on one manual. I've just received the part and, whilst that would be possible in a Goldbergs-on-the-piano fashion, I'd rather have a more practical and perhaps more musical solution. It might be possible to play the left-hand part down an octave; using 4' or 4'+2' might work! Alternatively an organ with split stops, or two organs (!) might be feasible. Of course the obvious solution is to use a two-manual instrument but that might be difficult for financial and practical reasons. If anyone has experience of this piece I would be glad of any advice. Thanks in advance.
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I wish I'd bought it when it was on eBay at $20000. :angry:
Last Night Of The Proms
in General discussion
Posted
Er, ConstanT Lambert, I think; you're probably confusing him with Constance Shacklock who used to sing "This was the chart-[engage chest voice]-ER" at the Last Night in days of yore.
Regarding organ recitals in the Prom season, I heard a phone-in about the Proms on R3 and Nick Kenyon specifically ruled out their reintroduction. I think half a concert devoted to solo organ music and at least one major symphonic or choral work with a prominent organ part should be considered a minimum.