Nigel Allcoat

It has been interesting to read about this in the latest Choir & Organ - and to view pictures of other instruments too of the work of Richards, Fowkes & Co. I have heard splendid reports of these organs and greatly look forward to their essay in London although first thoughts about the dire proportions of the case leave me a touch anxious. Best wishes, N

The Organist is a rare breed of performer who frequently must turn pages himself - and some (of us) have had gruesome experiences with a resident page-turner which makes for a less-than calm performance. Therefore, I try always to create a performance copy which allows me to play unaided. I took the hint from the late Ewald Kooiman who had his folder prepared for the performance. So sensible and so easy for each venue. Likewise, I really do not like the presence of a registrant - although I must admit somewhere like the Sint Bavo actually does require a couple of people who know the instrument and the horizontal array of stops. (I still think that two people are paid by the town council to do this at the public recitals but stand corrected about this observation to the human alternative to Solid State.) Cut and pasting is quite an art and on A3 pieces of paper that form a book (that gets cut down to size because not every music desk will accommodate such a tall score). Most works can laid out like this. In other words we are doing what the publisher ought to have done in the first place for a Performance Score. Some main-stream Romantic works stretch the imagination terribly (Franck's III - final pages) for instance. And I only was able to manage the 6th Trio sonata (1st movt) by omitting the first section (and start playing from Bar 161) and at the final cadence jump to Bar 19 which I have starting the work! And on three pages - the whole movement which can lie flat infront of you with no turn necessary. With some ingenuity (which does not come naturally at all to me) it becomes a musical game and gives one great satisfaction upon completion. Necessary tools: Good 90/100 gram paper for using with a copier/scanner (preferably with enlargement/diminution of image); a pile of A3 or B4; 1 large dining table; 1 pair of Paper hanging scissors; totally see-through sellotape on a sold dispenser (as you often have to cut with one hand); two cats to play with the off-cuts on the floor. I think common sense must prevail between publishers and performers in all this. If it doesn't then it is a sorry state of affairs. Best wishes, N

I think this is ample justification for abolishing slavery. N

Sorry for the Russian! Best wishes, N

You must always take things with a pinch of salt! It was 1885 Cavaillé-Coll; then Beuchet-Bebierre 1937; Barberis 1986 and then Swiderski 2000. The case be unaltered though. Transmission is electric and I heard today that only 2.5 of the 8 General pistons work. Best wishes, N

Most scrums seem convivial.

It does seem at face-value to be rather a large amount - certainly if one is to encourage youngsters to hear the organ. However we don't know the circumstances as it is quite probable that David might be giving his services, or donating all the PRS proceeds (all the music is of his arrangements - no organ music literature at all - and are out of original composer copyright and thus will bring in a not inconsiderable sum either to himself or the cathedral if the monies are being donated.) As I say (and think), we are not privy to the background to all this and also how much the coffers might still need to be filled to pay for the organ or the second one. I am more than sure that the cathedral will be greatly indebted to David for being so magnanimous should my hunch be correct. Best wishes, Nigel

You did not detect Master Thain who was otherwise engaged, I believe. As for a G J on this instrument you link me to, it is quite out of the question as it is for quite different repertoire. But you can still play the music and imagine. Never let the organ stop you. It is just the same as playing such a sound on a Cavaillé-Coll. The organ you highlight has far more similarities with those of the French Romantic as they can be seen as being far more German in a number of ways (reeds and Harmonic flutes etc) with a nod to Italy (Voix celestes) and late Baroque Spanish horizontal reeds for éclat. Look at the Guil.lmant editions of old music which were registered for the Romantic organs and it gives you an excellent clue what to do with the movements. The organ in Saint-Antoine has 19 stops on the Grand-orgue; 16, 8, 8, 8, 4, 4, 3 1/5, 3, 2, 2, 1 3/5, 1, IV, IV, Cornet V, Tromp I, Tromp II, 4, Voix humaine 11 on the Positive; 8, 8, 4, 3, 2, 1 3/5, 1 1/3, III, II, Tromp 8, Crom 8. 2 on the Récit (Trompette & Cornet); 5 on the Echo (Bourdon, Prestant, Cornet III Plein J III, Cromorne) and 7 on the Pedal 16, 8, 6, 4, 16, 8, 4. Compasses: C-D-d for G-o and Positive; Middle C - d for the Récit abd Tenor C to d for the Echo. Pedal C-A-D -f Best wishes, N

As promised - there are 9 videos in the Room YOUTUBE. Best wishes, Nigel

These are the 9 Video Diaries taken almost in their entirety by a group of Oxford Organ Scholars the other week. It was a study trip and also a moment for them to come together just before term starts. One is a graduate from Cambridge he knows St Antoine from courses there and had rather difficult withdrawal symptoms and so requested to join. One (who begins the Kyrie) reads Classics at Braesnose and has just started the organ from scratch. This is the very first time that they had had the opportunity of playing a French Baroque instrument and exploring the music of the same age. It was a fine gathering which inspired me no end. On the 3rd Day we sang some of the Nivers chant to go with the Couperin Mass so that they had an idea how French Liturgy worked some centuries ago. It was a little quick, unrehearsed touch of historical re-enactment in the most basic sense - but something to fire them to delve deeper. I hope you forgive the odd NJA intrusion - but this is what was created. Best wishes, N DAY ONE DAY TWO DAY TWOb DAY TWOc - Messiaen's Tomb DAY THREE DAY THREE (Mass Pt 1) DAY THREE (Mass Pt 2) DAY FOUR DAY FIVE (Final day) Best wishes, Nigel PS Here is a link to the Pictures. Click on each and then on "Size" to get the large reproduction. Well worth it. PICTURES

Indeed - that's why I wrote: Oxbridge Colleges need eclectic instruments which in many folk's mind need to be accompanimental instruments first and foremost with a nod to one tradition or another if they can. Some have gone further than others in this way - but all have musicality which can inspire in one way or another. You mention places - I was being somewhat general but we both are on the same tack I would suggest. N

Thank you for your message, but you throw no further light nor provide any tangible evidence to support your observation although I shall be delighted to learn what Classical Music had to say about Organ Scholars and who wrote it. Do send it. Thank you. As for David Coram's post to which you refer, I honestly couldn't understand what it implied so thus cannot comment. N

Hearsay like this is not very informative and can give many wrong impressions to others reading here. Please do state your source "I have been informed by a colleague" and those Colleges that have appointed such people else your mail and motive might be misconstrued. So far I have yet to find one such place to which you refer and look forward to your facts. Until we have such information your post can be seen to be rather ungracious. I feel that I must say that one is not solely appointed on the prowess of organ playing and tests. I know that Senior Tutors look first and foremost for academic qualifications and a blisteringly brilliant player who cannot produce for Oxbridge triple A's at A level will not stand much chance of entry. N

This subject is very dear to my heart. For me, one needs musical instruments to teach on at all levels and certainly the middle to higher levels. But I underline the fact that the sounds must be of the highest musical order - not so many stops I suppose. I want to teach the music - phrasing, fingering, analysis etc. I am not particularly looking for the 'authentic' sounds at that stage. There seems (alas) such interest on playing the sounds before knowing the music. When we need the 'right sounds' I have come to the conclusion that we travel. As well as having an opportunity of seeing the lands that bore the instruments and the rest of the culture/architecture, it is of such importance to experience the real thing when the player is prepared for that stage. The sounds are then stored in their memory bank. In the USA and places some distance from Europe and those Organ Schools that form the basis of our repertoire, they have reproductions for teaching and then they send their scholars on to the Summer Schools and the like, on the continent. That's great fun and a joy to see their eagerness. It is good to have a mixing as students and their experiences seem an admirable talking point and lasting friendships can be made. I know because they were some of my happiest moments in my formative earlier life in the last century. I have just returned from taking a goodly group of Organ Scholars from Oxford (and an infiltrator from Cambridge) on a week's intensive course on Baroque music of France and playing in a French Abbey and on the 'real McCoy' with 4 manuals, suspended action, Plein jeu's, Grand Jeux's, Grand Nazards and Tierces, Echo Cromornes etc etc etc and even a ravalement pour les anches to send the senses into the stratosphere plus plats des jours! You have to travel - and now with frontiers down, all the great and noted places in Europe are only a couple of hours away or so from St Pancras. I find it quite unnecessary (unless things are small - like the little Italian organ at RAM) to have instruments in one particular style. For a start, the organ needs to be correct for the room and not 'we need a so-and so'. That is courting disaster in my estimation. Furthermore, if you put your main 'stylistic' organ in the main Concert hall, your exposure to it is greatly limited because of the other groups, ensembles and concerts that must take priority. The luxury of an organ Faculty and with all necessary dedicated rooms (and size) is a dream - certainly in the UK. Putting organs and sharing them with a local church is also courting danger at times and needs careful co-operation. There was a thought in my mind that St Cyprian's, Clarence Gate could have been a venue for another RAM organ and Holy Trinity, Prince Consort Road for a RCM linking. But ...... Oxbridge Colleges need eclectic instruments which in many folk's mind need to be accompanimental instruments first and foremost with a nod to one tradition or another if they can. Some have gone further than others in this way - but all have musicality which can inspire in one way or another. To have the wrong instrument in the wrong room is not a good spending of dosh. A French instrument emulating the 17th/18th century needs a grand acoustic. Nothing more disheartening than playing a Plein jeu and having no ambiance to envelop the slow moving harmonies. That's why they evolved surely. 5 minutes on an instrument in the right place is a priceless moment to treasure - for ever. The Organ is the teacher. I am prompted by the Heading here to put the Video Diaries on YouTube that the Oxford lads and lasses made last week so that you can appreciate what I mean. I shall post a link on the appropriate room here. I find that we need to be teaching the fundamentals of technique, analysis/history and to show how to learn and study works with a proper formalized list. So many people just play what they want to these days and miss out the absolute foundation/bed-rock works that are totally necessary for their serious education. Much Sweelinck for instance. There are of course an odd exception to what I say - but organ students these days seem to have so little time to do 3 or 4 hours of practice a day which other instrumentalists try to find. Lamentable. All best wishes, and apologies for writing so much. Nigel

I use this system (and bought the cable version for St John's Oxford), and it is immediate. I have checked in my occasional mirror when having to play an improvised film score and what I see is exactly what is being shown on the screen. However, sometimes a rather stuffed Positive might make a little difference to the signal - but it is only a difference in the quality of picture. This does not bother me in the slightest. Best wishes, N

I use photographed/copied music so that I need no page turners but I have the original with me as well. Common sense must prevail. However, whilst leading the Oxford organ Scholar Study Tour last week (Video Diary shortly available on YouTube - and already on Facebook), they were all talking about an Oxford college (choir) being fined a five figure sum recently. I shall not name it as it was hear-say and thus not possible to have in a court - but they were all of one voice about it. Best wishes, N

Yesterday I had to make a report on one of my organs in my diocesan charge. The organ could only be turned on (blower-wise) by the Churchwarden's husband lifting the two trap doors in the Vestry, returning to the organ and pressing "on" and then retuning to the Vestry where he took a mop to the the blower to get it going. Obviously the handle had magical powers as after a little time of him being like St George fighting the dragon in the pit the great machine started up. I am certain it is the largest coffee grinder in Christendom. The Mop & Pit There was also a dyslectic engraver employed too - hence Salcional 8 and Gedacht 8 on the Swell. Chuckles. Nigel

There is a change-over of Priests at Saint Louis-en-l'Isle and for my recordings there next month it has taken quite a time to pop it in the diary. They normally are most kind and as the church is locked between 12hrs and 15hrs it is often possible (with the right asking) to get locked in. Mondays: the church is closed all day. Beware. However, I brought over the fine young fellow Yannick Merlin and Beatrice last November to play at the Temple Church for The Keyboard Trust. He took over the Tribune from Marie-Bernadette Hakim at Notre-Dame-des-Champs. A glorious Cavaillé-Coll in a matching acoustic. She departed at the same time as her husband did from La Trinité. This was the organ recently featured with her playing on the Radio 3 programme (Vierne) and was incorrectly named by them as just Notre Dame. Perhaps they don't do hyphens. Nevertheless, it is a gem and thankfully a more true example in many ways of the master's Art than the cathedral. He is a most affable person too, and so I am sure would welcome some entente musicale with les musiciens anglais. All the best, Nigel

How very kind of you to attend and support the festival in such an outrageously beautiful place. Alas for me it was with an organ in a very high pitch and so that made me have to transpose everything in my mind! Perhaps that accounted for subtle rubato whilst I wrestled with this major problem. An affliction (amongst others), since birth. Indeed, I was delighted that the young gentlemen were able to add such a special dimension. A joy and an inspiration for me. So glad though, that you thought my playing was like nothing on earth(!) - as Tournemire I believe, remarked that the 3rd Choral was music of the Angels. N

When I met Bruce in London he was a mighty fine enthusiastic organ builder and certainly a person who had many exciting ideas. This is taken from their site: "After college he worked in London, England with Matthew Copley where he studied voicing and was able to examine many historic English organs. In 1983 he returned to the U.S. and worked with Michael Bigelow and John Brombaugh & Assoc. where he met and worked with Ralph Richards." It is indeed refreshing to have a confluence of styles and ideas meeting again in the UK. Those who might wag a finger about imports should look about their own home and garage, not to mention perhaps, the computer upon which they are writing their comments. In many areas of Art, I suggest that we would be the poorer if we had had exclusions or comfiscated the brains of those returning from The Grand Tours or stopped the likes of Handel, Mendelsshon or Van Dyke, Snetzler, Schulze, Cavaillé-Coll or Smith and the Dallams from disembarking on the Southern shores over the past few centuries. London was renowned as a liberal and enthusiastic place for public music-making without the stictures of Patronage. But things don't change over the years! Thomas Hearne writing on 6th July in 1733 when Handel stood in for a theatre company which had been banned and gave a series of 5 concerts in the Sheldonian says; The players denied coming to Oxford by the Vice-Chancellor, and that very rightly, tho' they might well have been here as Handell and his lowsey crew, a great number of foreign fidlers. But England would surely not have had such a bountiful supply of public misic-making had not been for the stance of John Banister after he was dismissed as leader of Charles II's royal band after making rude comments about some of the French musicians whom the King had hired. He then started a Parley or Instruments and moved from tavern to tavern - very much like most musicians today, except they played to an adoring public for an entrance fee of 1 shilling! After Banister died in 1697 it was dear Thomas Britton (the humble charcoal seller in London) was the 2nd impressario and promoted concerts for 36 years. But it must be stressed that much of the best in music in Britain were from foreigners and like art, music was seeminly only acceptable if it was imported. I rejoice that we are not at all narrow and that we are constantly open to the ideas from others. Yesterday, whilst on one of my diocesan pilgrimages with the DAC, I can report that one largish organ (from George Eliot's Parish Church) was bought by a church in France and another offer made for another, (a beautiful William Hill in fine order - it has been carefully maintained but not played for 30 years as an Allen is preferred as it is modern!). These UK places prefer digital and have little pride in what they possess. So, there are swings and roundabouts in all of this. All the best, N

I was brought up with the H & H in Leicester Cathedral and it had such a transfer stop and so the 3 Trombas (when drawn on the Great jamb), played only on the Choir keyboard. It also meant that they then were usable on the pedal via the Choir to ped coupler - a blessing as the vast Pedal Ophicleide was not suitable for contrapuntal music. Best wishes, N

I know the arranger of a number of Cantata movements - Rev. Peter Baekgaard in Denamrk. They are an excellent addition for those people requiring such well transcribed material. The whole can be heard on CLASSCD 668 (the Classico label). BWVs:29;199;75;4;36;143;163;113;9;95;13;109;180;22;1;159;166;167 I can easily supply hias address should players want to aquire the dots. Best wishes, Nigel

Please correct me if I am wrong! Surely some people are mixed up as to what is a Virus and what is a Germ/Bacteria. As I know it a virus cannot reproduce without a living host and Bacterium is a completely self-contained and self-reproducing unit. All this talk of the Chalice spreading Swine 'flu, I think is tosh. BUT the one thing you don't have to do I imagine is shake hands. The Peace is far more dangerous a time in the Mass! The next most dangerous time is shaking hands with the Priest as you leave.