sjf1967
-
Posts
328 -
Joined
-
Last visited
Posts posted by sjf1967
-
-
In an ideal world, small plenum (sometimes a grand jeu-ish sort of sound if there's a good one available), bigger plenum (16'maybe) for 5 part, smaller plenum for the last section until the last line when the larger plenum returns. I have no evidence that I'm right - just seems to work - but of course it depends on the plena. Switching to flutes seems to undo all the harmonic tension generated by the final bars of the 5pt section, to my ears at least. I can imagine a few 18th instruments having a winding problem with rapid passage work over repeated low pedal notes on a fuller registration in the final section, so I suppose you just have to decide whether or not to take note of those implications on a modern instrument.One theory I have heard is that it should start on the Ruckpositiv, central (5-part) section on the Hauptwerk and final section on the Oberwerk. Another is that this composition symbolises The Trinity - though why that theory should oblige a performer to end a majestic work with a couple of pages of hyper-delicate wisps of flute combination is beyond me.Since this system seem to insist on me stating my own position, I love an fff end and am sufficiently convinced of the musical justification for this. I feel sure that the great man (with his well-known penchant for 32' stops and reeds) deliberately piled on the power towards the end - those repeated bottom D's get the whole building rocking.
Couple this with Bach's own title - which surely points to the French tradition: notably the Grand Jeu.
-
Hope I'm not contravening any message board rules here. I have a complete Breitkopf JSB organ works for sale - brand new, perfect condition and still boxed, a thoughtful but unfortunately duplicated gift. Anyone interested? It's only going to sit on my bookshelves otherwise, which seems a waste. We can haggle off board! SF
-
Well if the glove fits then keep you post. I would think a lot of us agree why do we stay where we are or do what we do. It has to be for sheer love it and dedication. I ve been in my present post nealry 20 years. And although exhausting at times I do it because I love the Church where I am at and Organ. So I would think that might be some reason why some of the Cathedral Organists stay for so many years. Didnt Dr Roy Massey serve the longest or I am mistaken ?
A long tenure doesn't necessarily mean that people don't apply for other jobs...
-
How do you mean, Stephen? It always seemed to me that a vacancy in a top job would be followed by a game of musical chairs, or a Mexican wave if you like, as people lower down the ladder stepped up a rung (have I mixed enough metaphors there?) Doesn't it work like that any more?
Well Vox, I'd say it's all a lot more fluid than it was. In no way do I mean to imply that this is necessarily a bad thing, because recent appointments have all been excellent ones; but the 'established' route of Assistantship at ****ester, 10 years as no 1 at *******ton and then finishing up with appointment at the age of 50 or so to the no 1 post at *******ford is less certain than it was.
-
I'm beginning to incline towards the view that an incumbent organist can stay for too long in one post. I know the usual response to this is to trot out the names of people such as George Thalben-Ball, F G Ormond, George Guest etc. but I just can't help feeling that after so many years in the same post they had become jaded and set in their ways.
I think David Hill had the right idea in moving on from Winchester after 15 years, taking a year off and then facing a fresh challenge at St John's College, Cambridge. I just think it keeps things fresh, for both organists and the instutions involved.
Mind you, having said that, I listened last night to Hill's first CD with the St John's choir of Sacred Choral Music by Mendelssohn and was bored rigid by it.
Jeremy - I was going to keep well away from this one...but while it's true that a spell away from cathedral music might be an option for some, DH (for whom I have the utmost admiration and respect, having been his assistant - he's a thoroughly nice, modest bloke and is a joy to work for in every way) is hardly your average cathedral organist; not many have his range of freelance options to pursue, and his diary was already packed with outside conducting engagements when he left Winchester - it is still is, and rightly so. The other aspect of all this is that people can only move to new pastures when they become available; in recent years the progression through the profession has become a much less predictable thing than it ever used to be. So 'keeping it fresh' is not quite the straightforward situation some might imagine it to be, and while taking a break from it seems the obvious solution, even cathedral organists have to eat...
-
Yes.
But this was going out of fashion during the very epoch Bach was alive, and he
himself often had no Pedal 2' in his "own" organs.
The tendancy was towards "Gravität"...
Pierre
[/quote
I'm sure you're right about the gravitat, Piere, but in what sense are Arnstadt, Thomaskirche Leipzig or Muhlhausen not one of Bach's 'own' organs? They all had a 2'Cornett in the Pedal department.
-
Bach knew many instruments with 2' pedal stops, Pierre...Arnstadt Neue Kirche and Thomaskirche Lepizig among them. Who knows what he did with said 2' stops, but they're on the stoplist.
-
Vox - it is a great piece, yes. Actually two bassoons and piano! I think Alain's father's house organ was the instrument in question; the Pedal 16p was on permanently in the lower octave, and the drawstop for this only functioned for notes above the divide point. The rest of the registers worked normally I think - so you could draw 4p Flute and play a melody on it in the upper octave of the pedals while the lowest octave of the pedal sounded at 16p pitch. I can't find the spec anywhere, but I'm reasonably sure about this. Not an electrical device. The Variations on Lucis Creator use the possibility too I think. STruro does indeed have a divided pedal, which was provided at the instigation of Mr Briggs. I've never played the organ though so don't know exactly what is involved.The Alain piece you have in mind must be the Intermezzo, which was originally written for bassoon and piano. The bassoon's melody is given to the right foot. I can't remember whether or not Alain intended it to be played on a divided pedal. I've got notes somewhere, but no doubt someone else here will know. A great piece, incidentally.
-
Thank you, Stephen! Yes - you are correct, PP improvises a scherzo (or part of one, if my memory serves me correctly) - and very good it is, too.
I loved your comment regarding a physiology class and light opera - that brightened my day!
I believe that PP himself paid for an adjustable bench - but presumably space is limited by virtue of the fact that the console is inside the lower part of the case; therefore, I assume that the bench cannot be moved backwards. Is this correct?
Yes, that's right. Afraid I can't claim credit for the physiology class comment, but I'm glad it brightened your day - thank Blackadder.
-
Hi pncd - I'll do my best to remember! It was one of my first concerts outside the UK and all a bit scary - lurking somewhere in the attic is a cassette of it, but I haven't been able to face digging it out - the playing is probably terrible.This is very interesting, Stephen.The C-C at S. Denis is indeed wonderful - although I think that I would have added a Céleste instead of the 1p stop which PP chose!
Am I correct in thinking that M. Pincemaille does not speak (or chooses not to speak) English?
On a non-musical point - was he smoking Galouises in the loft? (Not that there is any room, there!) At N.-D., at least Léfébvre goes into the tiny studio inside the case and smokes there - and when I was there a year or two ago, he also kindly made me a cup of very strong black coffee!
How easy was it to find your way around the S. Denis organ? I notice that the drawstops (on vertical and parallel jambs) pull out several inches. Is the clavier action heavy?
When you played it, was it still tuned to that odd unequal tempered system which was (re-)introduced at the most recent restoration - or had M. Pincemaille succeded in having it tuned to equal temperament by then?
My apologies for the multitudinous questions; I find this a fascinating subject.
In order of asking! - I think we did the whole conversation in French - I was at that time reasonably fluent in a sexy chit chat with girls sort of way, but couldn't have taken a physiology class or directed a light opera .
There was a Gauloise perched on PP's lower lip during his visit to the loft, yes - some of the ash went on and in my suit. Very hard to find your way around - nothing labelled, ventils heavy, stop draw length massive and not entirely perpendicular to the jambs for the most part, bench cripplingly positioned and immovable. Action HEAVY. Afraid I can't remember a thing about the temperament - it was so out of tune anyway it made no difference! I'll see if I can find that cassette... I think there's some footage of PP improvising at SD on that Solstice Cochereau DVD. S
-
The st Denis CC is very special. I played a lunchtime concert there ages back and M Pincemaille turned up in the loft halfway through the first piece to say hello. After a mid Dupre conversation he then spent the rest of the programme squinting at my registrations, muttering 'merde' and changing stops on a bar by bar basis till it sounded right..and the stereotype about chain smoking Gauloises was on this occasion borne out by reality. He was quite right about all the registrations, of course, and was altogether a pretty cool sort of bloke.You are so fortunate! I would very much like to meet M. Pincemaille. His improvisational skills are superb. Apart from the late M. Yves Devernay, he is the organist who can sound the closest in style to Cochereau, when he chooses.I would also dearly like to see the C-C at S. Denis - I have it on recordings and have been in the building - but unfortunately not when M. Pincemaille was playing the organ.
-
googling for pncd's phrase (I have no Cyrillic, alas) brings up a rather charming picture of a kitten. bless.
-
Talking of Canterbury, does anyone know about an old B&W feature film, set in WWII, in which Canterbury featured heavily, including shots of the old Willis III console. I saw it years ago but can't remember the title.
I'd be grateful for any positive leads.
H
headcase - it's Michael Powell 'A Canterbury Tale' - a really wonderful film and a very moving experience. Powell is a genius. Available on DVD - I've just been watching it! - and it crops up on TV from time to time. You should have no trouble tracking it down.
S
-
How about this guys - our very own Prom. Who says the BBC hates us! It on a Sunday morning though so book you deputies now!
It will be David Goode's 5th consecutive Prom season I think.
-
Not at all Jeremy - I hope you enjoy it and will be interested to hear your thoughts on the Bolcom if you get around to posting them here. I'm a big fan but I know it's not everyone's bottle of Budweiser...on the more general point, I wonder how easy it really is to programme for the RAH - quite a lot of repertoire won't quite work there I think, despite the size of the instument.I suppose I'm being a bit of a curmudgeon
when in fact I am a SP fan and will, nevertheless, be found at the RAH on 30 June.I just feel that Mendelssohn, Schumann, Karg-Elert and Schmidt is a bit too much for one recital, and on paper at least, it doesn't look like an enticing programme. Nonetheless, the Jongen is of course a fantastic work, and the Bolcom sounds interesting.
-
Hi pncd - the Bolcom is fantastic - it starts as a bona fide avant garde piece with little hints of melody poking through the texture, and gradually metamorphoses to a blues/swing/rock setting of the second tune, starting quietly and growing to a conclusion on full organ. Great fun - and incredibly difficult. Well worth going to hear the concert for that piece alone I'd say....Yes, I would agree with your sentiments, Stephen.Whilst personally, I fail to see the point of orchestral transcriptions in an organ recital these days, nevertheless it could be interesting to observe precisely how Mr. Preston will realise such matters as the registration, for example.
I have no knowledge of the last item - it is always exciting to discover previously-unknown repertoire.
I hope also that Manders have managed to rectify the unfortunate electrical problems which affected the combination mechanism of the instrument following the rebuild. However, I do understand that the fault lay in certain components in the Solid-State system - something which Manders (or the suppliers) could not have been expected to know until the problems became manifest.
-
The programme for Simon Preston's 30 June recital at the RAH is:
Felix Mendelssohn: Overture to the Oratorio "St Paul" (Op. 36)
Robert Schumann: Six Fugues on the name BACH (Op. 60)
Franz Schmidt: Toccata (1924)
Sigfrid Karg-Elert: Valse Mignonne (Op.142, No.2)
Joseph Jongen: Sonata Eroïca (Op. 94)
William Bolcom: Free Fantasia on ‘O Zion, Haste’ and ‘How Firm a Foundation’
My heart sunk to my boots at the sight of the Schumann - didn't he play that at his RFH recital last year? On paper, at least, an underwhelming looking programme for such an occasion.
Yes he did, Jeremy - but I don't entirely understand why you are so turned off by the prospect of hearing the Schumann Fugues again - one of the few 19th century organ works to come from the pen of a real composer, one that musicians other than organists take seriously. As for the repeating programme issue - look at Carlos Kleiber. In the last twenty years of his career he only a had repertoire of about 10 symphonies, a handful of overtures and maybe six operas , but people still flocked to hear him conduct them every time - no one said 'Blimey, Beethoven 5 and 7 AGAIN - didn't he conduct those last year at the Musikverein?' Why was that? I heard the Schumann last year and don't imagine they will be played the same way in the RAH - that alone will make the comparison interesting. What do you think SP should have played?
-
Dear Neil,
Ignoring your enthusiasms above, (which you are entitled to express being a proud purchaser!) I would concede that you have a rather unusual situation at Charlton Kings. I know you have a decent choir (for which a range of flexible colours and a 32' are a great help) and an extremely confined space to put any kind of organ - if ever there was a building with nowhere to put pipes St.Mary's C.K.'s is it - which probably explains why there has been a succession of electronic instruments since (I think) the 60's when the former (restricted) pipe organ went to Dean Close School.
If I remember correctly, the first electronic at CK was a Compton. Am I right in thinking that your new organ is the third, however?
I hope you don't think me rude to prolong this. Sorry.......!
If, of course, you had the space to put one in, your £30k would have got you a quite substantial second-hand pipe organ. You could have re-homed something really worthwhile. My hackles rise most when pipes go and electronics come in - the classic case IMHO being Pershore Abbey which I have mentioned once before on this site. A three-manual (perfectly rebuildable) J.W.Walker of the 1950's was ditched in favour of a quasi-French Bradford Computing Organ designed by (the) John Norman.
Now - thinking 'state of the art' - who has heard the electronic organ at The Sheldonian Theatre, Oxford? By all accounts, an extremely generous donor asked Simon Preston one day what he thought of electronic organs by a particular firm. On being told something reasonably tactful, the condition was then given that the University would be given a new organ so long as it was ordered by said firm! Since you will not have heard or read much of this project since, let me give a brief summary of it.....
First and foremost, it is/was (very proudly) a money no object, 'there's never been a better instrument' organ-substitute. The console is like something out of science fiction - no stops or tabs, just a large quantity of small television screens! This is because it boasts four alternate specifications, Salisbury Cathedral and Pembroke College Cambridge being the two representing UK organ styles. It replaced a (rather baked but still respectable) Father Willis that had been successively rebuilt by Willis 3 and H&H.
There was a big v.high profile launch (thinks: up like a rocket, down like the stick!) with Simon Preston and a well-known professional chamber orchestra and not much has been heard of it since. It was the musical equivalent of the City Technology College idea so beloved of those who want to make their political careers on the backs of teachers and poor messed-about pupils. The proud boast is 'we'll show them how to do it' and the actual result is a dismal faliure which could have been predicted by anyone who stood a sufficient distance away.
Do you really think the old Sheldonian organ was respectable, Paul? On the occasions I had to perform on it, it was close to being one of the worst organs I've played - I think your choice of adjective is pretty generous! Saying that is not the same thing as liking the idea of an electronic - I think the use of the old casework to conceal the speakers of the replacement is at best disingenous - but it was a poor organ.
-
Gawd. What on earth happened there? There was like a stray note in the puase. Could that have been the music copy falling down and the organist picking it back up with one hand whilst have planting a chord in the other? What do you think?
More, more of these! They're funny!
Sounds like a transposer switch going off to me - he's playing in Dd while they sing in D.
-
Richard - I have quite a few, including a splendid Hallelujah Chorus, but can't post the url links here. I'm happy to forward them to you if you contact me off the board.Here are a couple of funny sound clips i have got hold of, hope you find them as amusing as I do!!Clip of an attempt of Zadok:
Clip of a brand new ornament which I never heard before:
A very strange Plagal Cadence:
Presentor on Radio 3 before and after Choral Evensong (Peterborough 29-03-06)
If anyone got anymore then please share! Email them to me, I find these sorts of things hilarious!
RM
-
======================
A bit thin?
Simon Preston only plays a couple of works?
Here is the complete Opus list:-
REGER ORGAN WORKS
Fantasia and Fugue on B-A-C-H for organ, Op. 46
Chorale Prelude for organ ("Allein Gott in der Höh' sei Ehr"), Op. 135a/2
Chorale Prelude for organ ("Jesus meine Zuversicht"), Op. 135a/13
Chorale Prelude for organ ("Lobe den Herren"), Op. 135a/15
Pieces (12) for organ, Op. 59
Chorale Prelude for organ ("Wachet auf, ruft uns die Stimme"), Op. 135a/25
Chorale Fantasia for organ ("Wachet auf, ruft uns die Stimme"), Op. 52/2
Chorale Prelude for organ ("Nun komm, der Heiden Heiland"), Op. 67/29
Chorale Prelude for organ ("Es kommt ein Schiff geladen")
Chorale Prelude for organ ("Wie schön leuchtet der Morgenstern")
Chorale Fantasia for organ ("Wie schön leucht't uns der Morgenstern"), Op. 40/1
Variations and Fugue on an Original Theme for organ in F sharp minor, Op. 73
Chorale Prelude for organ ("Aus tiefer Not schrei ich zu dir"), Op. 67/3
Chorale Prelude for organ ("Wer nur den lieben Gott läßt walten"), Op. 67/47
Chorale Prelude for organ ("Ach Gott, verlaß mich nicht"), Op. 79b/1
Chorale Prelude for organ ("Ein feste Burg ist unser Gott"), Op. 135a/5
Chorale Fantasia for organ ("Ein' Feste Burg ist unser Gott"), Op. 27
Romance for harmonium in A minor
Introduction and Passacaglia for Organ in D minor
Chorale Prelude for organ ("O daß ich tausend Zungen hätte"), Op. 135a/19
Chorale Prelude for organ ("Nun danket alle Gott"), Op. 135a/18
Pfingsten (Pentecost), for organ, Op. 145/6
Monologe, pieces (12) for organ, Op. 63 No. 5, Introduktion in F-Minor
Monologe, pieces (12) for organ, Op. 63 No. 6, Passacaglia in F-Minor
Introduction, Passacaglia and Fugue for organ in E minor, Op. 127
Chorale Prelude for organ ("Macht hoch die Tür"), Op. 135a/16
Chorale Prelude for organ ("Wachet auf, ruft uns die Stimme"), Op. 67/43
Prelude and Fugue for organ in G major, Op. 56/3
Weihnachten (Christmas), for organ, Op. 145/3
Chorale Prelude for organ ("Vom Himmel hoch"), Op. 135a/24
Chorale Prelude for organ ("Vom Himmel hoch"), Op. 67/42
Chorale Prelude for organ ("Nun freut euch, lieben Christen"), Op. 67/30
Chorale Prelude for organ ("Jesus ist kommen"), Op. 67/20
Chorale Prelude for organ ("Lobt Gott, ihr Christen alle gleich"), Op. 67/25
Chorale Prelude for organ ("Wie schön leuchtet der Morgenstern"), Op. 67/5
Chorale Prelude for organ ("Mit Fried und Freud fahr ich dahin"), Op. 79b/10
Organ Sonata No. 2 in D minor, Op. 60
Monologe, pieces (12) for organ, Op. 63
Ostern (Easter), for organ, Op. 145/5
Chorale Prelude for organ ("Christ ist erstanden von dem Tod"), Op. 79b/8
Chorale Prelude for organ ("Christ ist erstanden von dem Tod")
Chorale Prelude for organ ("Erschienen ist der herrlich Tag"), Op. 67/8
Chorale Prelude for organ ("Es ist das Heil uns kommen"), Op. 135a/7
Chorale Prelude for organ ("Es ist das Heil uns kommen"), Op. 67/10
Chorale Prelude for organ ("Machs mit mir, Gott"), Op. 67/27
Chorale Prelude for organ ("Ein feste Burg ist unser Gott"), Op. 67/6
Chorale Prelude for organ ("Herr, wie der willst, so schicks mit mir"), Op. 67/13
Chorale Fantasia ("Halleluja! Gott zu loben, bleibe meine Seelenfreud"), for organ, Op. 52/3
Fantasia and Fugue for organ in D minor, Op. 135b
Suite for organ No. 1 in E minor ("Den Manen Johann Sebastian Bach"), Op. 16
Chorale Prelude for organ ("Jesus meine Zuversicht"), Op. 67/22
Chorale Prelude for organ ("Christus der ist mein Leben"), Op. 79b/9
Chorale Prelude for organ ("Straf mich nicht in deinem Zorn"), Op. 67/39
Chorale Fantasia for organ ("Straf' mich nicht in deinem Zorn"), Op. 40/2
Pieces (3) for organ, Op. 7 No. 2, Fantasie on "Te Deum laudamus"
Chorale Prelude for organ ("Großer Gott, wir loben dich"), Op. 135a/10
Pieces (3) for organ, Op. 7 No. 3, Fuge in D minor
Chorale Prelude for organ ("Nun danket alle Gott"), Op. 79b/11
Chorale Prelude for organ ("Dir, dir, Jehova will ich singen"), Op. 67
Fantasia and Fugue for organ in C minor, Op. 29
Organ Sonata No. 1 in F sharp minor, Op. 33
Chorale Prelude for organ ("Meinem Jesum laß ich nicht"), Op. 67/26
Chorale Prelude for organ ("Gott des Himmels und der Erden"), Op. 67/12
Chorale Prelude for organ ("Herr Jesu Christ, dich zu uns wend"), Op. 135a/11
Prelude and Fugue for organ in E major, Op. 56/1
Trios (6) for organ, Op. 47
Chorale Prelude for organ ("Freu dich sehr, o meine Seele"), Op. 67/11
Chorale Fantasia for organ ("Freu' dich sehr, o meine Seele"), Op. 30
Chorale Prelude for organ ("Herzlich tut mich verlangen"), Op. 67/14
Chorale Prelude for organ ("Christus der ist mein Leben"), Op. 67/5
Chorale Prelude for organ ("O Welt, ich muß dich lassen"), Op. 67/34
Chorale Prelude for organ ("O wie selig seid ihr doch"), Op. 67/35
Chorale Prelude for organ ("Seelenbräutigam"), Op. 67/37
Suite for organ No. 2 in G minor, Op. 92
Chorale Prelude for organ ("Von Gott wil ich nicht lassen"), Op. 67/44
Chorale Prelude for organ ("Liebster Jesu, wir sind hier"), Op. 135a/14
Chorale Prelude for organ ("Was mein Gott will"), Op. 135a/27
Chorale Prelude for organ ("Wer nur den lieben Gott läßt walten"), Op. 135a/28
Chorale Prelude for organ ("Jerusalem, du hochgebaute Stadt"), Op. 135a/12
Pieces (12) for organ, Op. 59 7, Kyrie
Pieces (12) for organ, Op. 59 8, Gloria
Pieces (12) for organ, Op. 59 9, Benedictus
Pieces (12) for organ, Op. 59 10, Capriccio
Pieces (12) for organ, Op. 59 11, Melodia
Pieces (12) for organ, Op. 59 12, Te Deum
Symphonic Fantasia and Fugue for organ, Op. 57 ("Inferno")
Passion (Passiontide), for organ, Op. 145/4
Chorale Prelude for organ ("O Haupt voll Blut und Wunden"
Chorale Prelude for organ ("O Haupt voll Blut und Wunden"), Op. 135a/21
Chorale Prelude for organ ("O Traurigkeit, o Herzeleid")
Chorale Prelude for organ ("Jesu Leiden, Pein und Tod"), Op. 67/19
Chorale Prelude for organ ("O Lamm Gottes, unschuldig"), Op. 67/33
Chorale Prelude for organ ("Ach bleib mit deiner Gnade"), Op. 135a/1
Chorale Prelude for organ ("O Gott, du frommer Gott"), Op. 67/31
Chorale Prelude for organ ("Sollt ich meinem Gott nicht singen"), Op. 67/38
Chorale Prelude for organ ("Es ist gewißlich an der Zeit"), Op. 135a/8
Chorale Prelude for organ ("Eins ist not!"), Op. 135a/6
Chorale Prelude for organ ("Alles ist an Gottes Segen"), Op. 135a/3
Prelude and Fugue for organ in C major, Op. 56/4
Postlude for organ in D minor
Variations and Fugue on "Heil dir im Siegerkranz" ("God Save the King") for organ
Trauerode (Funeral Ode), for organ, Op. 145/1
Siegesfeier, for organ, Op. 145/7
Pieces (12) for organ, Op. 65
Prelude and Fugue for organ in G sharp minor
Chorale Prelude for organ ("Vater unser im Himmelreich"), Op. 67/41
Chorale Prelude for organ ("Was Gott tut, das ist wohlgetan"), Op. 135a/26
Chorale Prelude for organ ("Wunderbarer König"), Op. 135a/30
Chorale Prelude for organ ("Meinem Jesum laß ich nicht"), Op. 135a/17
Chorale Prelude for organ ("O Gott, du frommer Gott"), Op. 135a/20
Chorale Prelude for organ ("Aus meines Herzens Grunde"), Op. 67/4
Chorale Prelude for organ ("Warum sollt ich mich denn grämen"), Op. 67/45
Chorale Prelude for organ ("Was Gott tut, das ist wohlgetan"), Op. 67/46
Prelude for organ in C minor
Prelude and Fugue for organ in B minor, Op. 56/5
Prelude and Fugue for organ in F sharp minor
Preludes and Fugues (4) for organ, Op. 85
Chorale Prelude for organ ("Herr, nun selbst den Wagen halt"), Op. 79b/3
Chorale Prelude for organ ("Warum sollt ich mich grämen"), Op. 79b/13
Chorale Prelude for organ ("Jesu meine Freude"), Op. 67/21
Chorale Prelude for organ ("Herr, nun selbst den Wagen halt"), Op. 79b/12
Pieces (10) for organ, Op. 69
Chorale Fantasia for organ ("Alle Menschen müssen sterben"), Op. 52/1
Pieces (12) for organ, Op. 80
Chorale Prelude for organ ("Ein feste Burg ist unser Gott"), Op. 79b/2
Chorale Prelude for organ ("Mit Fried und Freud fahr ich dahin"), Op. 79b/5
Chorale Prelude for organ ("Jerusalem, du hochgebaute Stadt"), Op. 67/18
Chorale Prelude for organ ("Wer weiß, wie nahe mir mein Ende"), Op. 79b/6
Chorale Prelude for organ ("Auferstehn, ja auferstehn wirst du"), Op. 79b/7
Chorale Prelude for organ ("Freu dich sehr, o meine Seele"), Op. 135a/9
Chorale Prelude for organ ("O Jesu Christ, meins Lebens Licht"), Op. 67/32
Chorale Prelude for organ ("Komm susser Tod")
Chorale Prelude for organ ("O Welt, ich muß dich lassen"), Op. 135a/22
Chorale Prelude for organ ("Wer weiß, wie nahe mir mein Ende"), Op. 67/50
Chorale Prelude for organ ("Wie wohl ist mir, o Freund der Seelen"), Op. 67/52
Chorale Prelude for organ ("Valet will ich dir geben"), Op. 135a/23
Chorale Prelude for organ ("Valet will ich dir geben"), Op. 67/40
Chorale Prelude for organ ("Alles ist an Gottes Segen"), Op. 67/2
Chorale Prelude for organ ("Komm, o komm, du Geist des Lebens"), Op. 67/23
Chorale Prelude for organ ("Ich will dich lieben, meine Stärke"), Op. 67/17
Chorale Prelude for organ ("Schmücke dich, o liebe Seele"), Op. 67/36
Chorale Prelude for organ ("Wer nur den lieben Gott läßt walten"), Op. 67/48
Prelude and Fugue for organ in D minor
Chorale Prelude for organ ("Wie schön leucht' uns der Morgenstern"), Op. 135a/29
Chorale Fantasia for organ ("Wie schön leucht't uns der Morgenstern"), Op. 40/1
Prelude and Fugue for organ in C major, Op. 7/1
Prelude and Fugue for organ in D minor, Op. 56/2
Chorale Prelude for organ ("Jauchz, Erd' und Himmel, juble hell"), Op. 67/15
Chorale Prelude for organ ("Herr Jesu Christ, dich zu uns wend'"), Op. 67/9
Chorale Prelude for organ ("Werde munter, mein Gemüte"), Op. 67/49
Chorale Prelude for organ ("Morgenglanz der Ewigkeit"), Op. 79b/4
Chorale Prelude for organ ("Aus tiefer Not schrei ich zu dir"), Op. 135a/4
Chorale Prelude for organ ("Ich dank' dir, lieber Herre"), Op. 67/16
Chorale Prelude for organ ("Lobe den Herren"), Op. 67/24
Chorale Prelude for organ ("Nun danket alle Gott"), Op. 67/28
Chorale Prelude for organ ("Allein Gott in der Höh' sei Ehr"), Op. 67/1
Pieces (9) for organ, Op. 129
Dankpsalm (Psalm of Thanksgiving), for organ, Op. 145/2
Phew!! A bit thin indeed.
I certainly don't know them all, and I possibly play only 4 of the bigger works, (including "Hallelujah! G Z L," the "Introduction & Passacaglia in d minor," the well known Toccata dn Fugue in D minor and about HALF of the big BACH ) but I DO admire the Zweite Sonate Op.60 in D-minor, the tender Intermezzo in f-minor, the magnificent Fantasia & Fugue in D-minor Op.135/b, the Dankpsalm and the Symphonic Fantasia and Fugue for organ, Op. 57 ("Inferno").
Simon Preston also recorded the last mentioned "Inferno" from the RFH I believe.
As any serious organist knows, the big Reger works require a very great deal of practise and sustained dedication, and they are therefore works which really should occupy the attention of dedicated professional performers, rather than those who have to make a living in more diverse ways, either as professional church musicians or teachers.
I certainly don't blame anyone for not playing many of Reger's works; especially the larger ones.
That stated, the miracle of modern technology DOES enable us to hear the very finest performers giving Reger their absolute best, and if David Goode springs to mind, then so too do the late Fernando Germani (who wanted to record the complete opus) and especially Paul Jacobs of Julliard fame.
I wonder if anyone else in the world, can play the Reger 3-part expansions of the Bach 2-part inventions.
However, my absolute gripe, which borders on real anger, is the fact that much, much lesser composers are revered in Britain, and whilst I admire the work enormously, I would single out Healey Willan as something of a "one trick pony" with his "Introduction, Passacaglia, Chorale & Fugue."
With all respect to those whom many admire, there isn't a single English composer for organ who can match up to Reger, yet they get played with nauseating regularity.
MM
MM - we can agree on two things at least - the Willan 's overrated, and there's not very much really good English repertoire. But after that I think we'll have to agree to disagree, I hope amicably...I learnt quite a few of the bigger Reger pieces (I had to play the Second Sonata for a competition), and have never returned to them - I hated every minute! It's nothing to do with how hard his pieces are, or lack of time to work on them. The problem for me is the effort/reward ratio, I think, but I know that's not the same for others - I just happen to find other kinds of chtechnical challenge more rewarding. The concept of Reger adding a superfluous part to the unimprovable work of a far greater composer is for me emblematic of why I can't 'do ' Reger. How hard the result might be to play doesn't make it any more worthwhile...
-
wellll..apart from David Goode, is it really the case that Preston, Heiller, et al were/are great champions of Reger in general? - they have confined their selection to a few of his more impressive things. I have only ever heard SP play the usual bits of Op 59 and Straf mich nicht. Brian Runnett didn't play that much either - of course what he did pay was very fine indeed. . Once you're past the 'greatest hits', some of which are certainly very fine - I am extremely partial to Hallelujah Gott zu loben - what are we really left with? Erste Sonate or Zweite Suite, anyone? A great deal of R's output is pretty thin, I'm sorry to say. If only his textures were more so... I read somewhere in a sleeve note recently the assertion that all Reger's chords 'had' to have at least 12 notes in them because the thoughts they expressed were so profound. Surely not? Is profundity of thought really a function of density of texture? But, MM, I do agree with you on Guilmant and (mostly) Vierne, so I hope you'll forgive me!
Bad form to reply to your own of course but I just remembered that great phrase of Felix Aprahamian's - 'Reger's gifts often ran riot in immense exaggerations'.
-
============================
Part the first:
There may be a grain of truth in this, but this WAS Yorkshire, where folks like to fight a good fight. Even now, Yorkshiremen tend to dominate the boardrooms of London-based companies, "Aye, an' we won't 'av any women on t'board lad."
As for Reger being second-rate and turgid, I'm just awfully glad that those second-rate organists such as Fernando Germani, Simon Preston, Anton Heiller, David Goode, Jos van der Kooy and Melville Cook (plus most of the organ-playing/loving population of Holland) didn't or don't agree with you.
As for the market for second-rate, turgid music, there shouldn't be a problem.
God knows, people have been playing and buying recordings of Guilmant and Vierne for donkey's years.
MM
wellll..apart from David Goode, is it really the case that Preston, Heiller, et al were/are great champions of Reger in general? - they have confined their selection to a few of his more impressive things. I have only ever heard SP play the usual bits of Op 59 and Straf mich nicht. Brian Runnett didn't play that much either - of course what he did pay was very fine indeed. . Once you're past the 'greatest hits', some of which are certainly very fine - I am extremely partial to Hallelujah Gott zu loben - what are we really left with? Erste Sonate or Zweite Suite, anyone? A great deal of R's output is pretty thin, I'm sorry to say. If only his textures were more so... I read somewhere in a sleeve note recently the assertion that all Reger's chords 'had' to have at least 12 notes in them because the thoughts they expressed were so profound. Surely not? Is profundity of thought really a function of density of texture? But, MM, I do agree with you on Guilmant and (mostly) Vierne, so I hope you'll forgive me!
-
Vox- did you hear any of the R3 Bach Christmas? They played some of the old Helmut Walcha recordings of JSB - exquisite.And I wholeheartedly agree with the rest of your post (though I still play the Jig fairly niftily). I'd go further and make the same comment about some French Toccatas (especially the Final from Vierne 1), but that's another thread.The more I listen to Hurford's Bach the more I dislike it. It's not that it's not musical - it's supremely so. It's more that the speeds are often at the expense of the music's lyricism - and the brittle registrations pall after a while too.
The first recording of the Trio Sonatas I got (and therefore the one that won me over) was Lionel Rogg's first recording. I thought his speeds were fast, but they're nowhere near Hurford's. Now they still seem just about right. Rogg cruises along easily in a Jaguar while Hurford overtakes him in a Ford Escort with his foot flat on the floor. OK that's a bit of unfair hyperbole, but it's not an entirely inaccurate comparison.
when in fact I am a SP fan 
Bach's Fantasia In G (piece D'orgue)
in General discussion
Posted