Dulciana

Thanks for this. I had acquired the Sonata da Chiesa earlier in the year via Boeijenga (http://www.boeijengamusic.com), who were extremely helpful, so thought it must be back in print again. I have enjoyed immensely the Thema met Variaties and the Sonata da Chiesa, and would like to learn some more. Is there anyone who plays Andriessen's toccata that can attest to how hard it is?

Thank you very much for these replies. Most helpful.

I have been unsuccessfully trying to find somewhere to buy Hendrik Andriessen's 'Thema met Variaties': it is widely enough played that I assumed it would be easy to find. I'm currently learning it off a photocopy, but wanted to actually buy a proper copy if possible. I was also impressed by the same composer's 'Premier Choral' which I heard and fancied having a look at, but, again, haven't been able to track it down. Has anybody got any ideas, please?

They'll never be off course, though.

There is a clear inconsistency here, though. You say that his playing doesn't do much for you, but at the same time imply that others who have expressed negative reactions are wrong given that he has been invited to play at prestigious venues. I don't think that Carpenter's style - fashion or music - can be attributed to his youth (he's 31). Indeed, he appears extremely intelligent and speaks much truth about "the organ scene" that is perhaps a bit too close to home for some. His style is carefully cultivated, and actually rather old fashioned in many ways. I can understand that people would find it galling that he could pack the Royal Albert Hall while an organ recital, even one given by a fine player, typically attracts a handful of strange anoraked folk, and few music lovers who are not themselves in some way related to the organ. Does that mean that Carpenter should be vilified for doing so? Of course not. But I can understand those who are uncomfortable with the music itself being relegated to a position of secondary interest, and, having gone to hear Carpenter's prom on Saturday, can say that I personally found it tedious and one dimensional. However, the reaction of the audience would suggest that I was in the minority, so who I am I to say? (Incidentally, what was the point of him playing the F major toccata in F sharp, apart from it being announced with the sole intention of impressing? That got the concert of to a bad start for me even before a note was played.) Funnily enough, I would rather have listened to him speak about music for an hour rather than listening to him play.

http://www.thebrag.com/2012/06/26/music-interview-cameron-carpenter/ "he doesn’t believe in announcing programs before the night – he thinks people should come for the performer, not the music..." Therein lies an interesting insight. "Carpenter has confirmed that he’ll definitely be playing what he calls the ‘Syncretic Prelude and Fugue in D’: his own arrangement of Bach’s Chaconne in D Minor (“which is, at 15 minutes, one of the ultimate statements of humanity,” he gushes)" Why is it necessary for him to "arrange" a piece he himself describes as one of the ultimate statements of humanity? I know little of this chap's music making beyond a few YouTube clips, but the more I read of his attitude the less I would actually want to hear him.

Here is an interesting article from a couple of years ago. I couldn't resist reproducing one quotation from it: "Cavaillé-Coll? Cameron and I played one recently. Extremely limited. The rest of the European organs? I really have no interest in them. Relics". I shall make no further comment. http://www.counterpunch.org/2010/04/09/storm-over-cameron-carpenter/

No music here, but some interesting points???

Ignoring the state of the organ I think this is appalling and I can't understand why this gentleman is so lauded.

I don't think there's any such thing as absolute music, as defined.

Not sure if we've had it already (what a long thread), but this is exciting.

One of the most important things is to avoid pressure on the elbow, which can certainly exacerbate a nerve which is prone to compression at points where it passes through tight areas; the most common of these you can find between the two bony prominences on the inside of the elbow joint (medial humoral epicondyle and olecranon). We lean on our elbows all the time, and apply pressure on this area in a variety of situations. It is a matter of being aware and trying to avoid this. It is important to ensure that the symptoms resolve with this conservative approach, as a more chronic entrapment can lead to wasting and weakness of the small hand muscles, of which the ulnar nerve supplies the majority. Any sign that these muscles are becoming weak is an indication to consider surgery to decompress the nerve, which is why your doctor will want to monitor the progress. Be vigilant for this.

The distribution of the paraesthesia sounds like the territory supplied by the ulnar nerve. Do you lean on that elbow? The ulnar nerve not uncommonly gets entrapped as it passes around the back of the elbow.

Daft question, but is the bench at the correct height? If it was too high I could imagine the knee being stretched awkwardly when playing. Imagine you've already thought of that, though.

Can he cite an occasion on which the audience were physically laughing at his conclusion of Beethoven's sonata op 31 no 1? Incidentally, in the same article he states his lack of sympathy with the music of Rachmaninov as relating to the latter's lack of invention: this coming from a man whose performing career consisted in a large part of the piano music of Beethoven, and nothing (or very little) contemporary.

Just for a laugh:

Have you consulted a doctor? It could just be osteoarthritis, but if some joints are acutely tender it's worthwhile making sure it's not an inflammatory arthropathy.

I found these remarks illuminating. In essence, a digital vs one or two ranks of pipes provides the facility - and hence temptation - to start performing a piece long before one has really learnt it. It seems obvious, I suppose, but I hadn't really thought of it that way before. Thank you. Practice on single flutes it is, then.

In view of the thread in "Nuts and bolts" regarding the ergonomics of consoles, and stop jambs in particular, what do people think of how this console is shaping up? Scroll down to the bottom of the above link: there are pictures of the console taking shape.

Any idea why it was removed?

Why a "baroque" instrument? I don't remember much about it, but there was a pipe organ in there before, NPOR showing it as having been removed in 1990, soon after the University acquired the building. It is, indeed, laudable that they recognise the importance of such an instrument; it does make me wonder what has changed during the last 19 years. Perhaps someone else knows more about that instrument, as NPOR doesn't have any details beyond 3 manuals and pedal, by Brindley and Foster. The Glasgow Royal Concert Hall uses an electronic instrument when required, but it is never satisfactory.

Thanks to everyone for their advice so far. I'll have to have a play about with combinations as suggested on the swell organ when I have a chance, to see whether I can come up with a passable Voix Humaine (no such problems on the toaster at home as I have one!). The more I look at this wonderful piece the more difficulties become apparent: it will take a bit of work, but should be ultimately satisfying, I think.

I apologise for shamelessly taking advantage of your collective knowledge and experience, but I'm just starting out with this piece, and a few questions are immediately obvious. The first is a few impossible (for me) stretches: I don't have a small hand, but there are a few I couldn't manage. Presumably one has to juggle the notes around and sacrifice the voice-leading at points for keeping the harmony. Does anyone have any particular/clever solutions, particularly in bars 20 and 35 for a start? The second thing is those occasions in which the pedal line is duplicated in the left hand. From what I know of the St. Clotilde instrument, there was no recit to pedal coupler, and so presumably this explains the doubling; in the presence of a swell to pedal coupler, surely this doubling could be omitted? Thirdly, in the absence of a Voix Humaine, the celeste is probably the best bet, but it isn't right: what do people use? Any other pointers? Thanks.

As has been said, the monetary value of the electricity consumed will be, on average, pretty minimal. I repay my practice time with filling in for services when required. This has saved the church paying for deputies: in fact, I'll almost certainly be the one out of pocket. This has proved to be a perectly satisfactory arrangement.

I must say I was extremely impressed with the sound from a Hauptwerk set-up on this recording: I'd love a Cavaille-Coll in my front room. (Nice playing too).