Nigel Allcoat

doubled clicked for some reason. Sorry

I did, and now it has gone. One reason for its 'difficulty' was that it was positioned in the wrong place in the church/chapel. N

I have taken due regard and shall remain silent henceforth. N

This thread really deserves its own space really as it goes beyond the complexities of which digital instrument to purchase. In answer and to elucidate perhaps Paul's uncynical observations, I never for one moment suggest that work does not need to be done on a fully stocked console. In fact, it was one reason why I added the postscript to my original post as I had stopped at Mendelssohn. Tut tut! But in general terms as organists in some corners of the world, we seem so caught up with the accessories of the instrument. There is no argument concerning not going off to Church to use all the manuals, pistons and swell boxes. My thoughts are exercised by what has been done or not done, before the bike or the car has been taken from the garage. How many people leave their Franck scores (to name but one of many composers) on the church organ and never let them have a musical holiday at home on the piano? Of course I can appreciate too the opportunities necessary for using Swell pedals - but so long as they add to the expressiveness of one's playing and not just used as a synthetic substitute. (The right foot syndrome accounts frequently for the lamentable standard of Improvisation, as the left foot creeps mostly legato with unending passing notes as like a musical (sic) 16ft tape worm.) To make proper espressivo playing and with true cantabile and legato control, the piano is just the ticket. For me, the correct and judicious use of Swell boxes after the player knows how to control the music, heightens the performance to memorable effect. For instance, Weinen, Klagen, Sorgen, Zagen becomes ever more poignant after looking at Liszt's piano version as well as our's for the organ on the piano. The often wooden openings to Franck's 1st and 2nd Chorals benefit from proper expressive playing which only comes from a good grand piano! Franck's (and other Frenchmen) dynamics frequently refer to where the Swell lever is notched. The lever is only required when marked crescendi and diminuendi are there. The expression through musical rubato and 'line' is for me, then reinforced and coloured to heighten the interpretation by The Box. I just deplore the waggling of the swell pedal in the hope that the player thinks it makes the music expressive. It diminishes the point when we do need to use it. (The next time anyone uses The Box - ask yourself the question "Is this actually necessary at this point and what musical use does it bring to my playing?) However much one prepares on a wizard home/practice console, it never seems to be much use to me when confronted with an organ when on tour. All are so different. In fact not to be greatly used to one sort allows a fresher collaboration on first acquaintance I find. So, in conclusion, we all have different learning methods and most have different ideas as to how to achieve the best possible personal musical results. I only feel that the latter could sometimes be better honed in the early stages of learning by us than by being less concerned with the practicing of sound but more so with the actual music. Best wishes, Nigel

I have found this topic illuminating - thank you. I have one observation which I share and one which really has come about by my hearing many students and others practice. I believe that there is a distinction between i) playing the organ and ii) practicing at the organ. The former suggests to me that we have the stops drawn and there is much sound. With the latter, we surely aim to get the correct notes by the best arrangement of fingering and pedaling, articulation and phrasing. Therefore for the home we need only to address and purchase what is necessary for ii) - which surely answers the topic heading. If we need performance, then we require i) I perform at home - but normally in the kitchen or on my piano. Having now got two manuals and pedals and two extraordinary 8fts, under my roof (and in a most handsome piece of furniture to boot), I can honestly say my cup has overflowed. The excitement of putting the sound to all the domestic labour is tremendous when you reach the church or concert hall. In retrospect, I would only have a digital instrument to mess around with the sounds (and no doubt at the expense of doing work). and all the time imagining of being somewhere where I wasn't. I would then slip into the same rut that numerous students find themselves in. Readers might be interested to know that once I did an experiment with a student who made oodles of noise all the day and drove everyone in three Quadrangles mad. We made a pact that if he only practiced on a single 8ft or 4ft we would use all necessary sounds in the lesson. Do you know, he learned things far better and almost twice the amount; was immeasurably more secure; and the frison that ensued from adding stops for the first time in the lesson was hugely rewarding. You can draw your own conclusions. All best wishes, N P.S (added after re-reading and realizing that there must be a Romantic compromise). Of course what I suggest above, is for music before the Romantic and Contemporary times. My instrument is only for all that music that I prefer mostly to play these days. For Romantic music I still use the pianoforte, as much music is so clearly based upon that keyboard's influence. Granted - a visit to the church is required to put much of this together. But the difference that occurs (in my estimation) from diligent study of organ music on the pianoforte, pays dividends. Phrasing and rhetorical interpretation is strongly helped. The organist can then also explore the works of the same composer written for the instrument and enjoy the similarities. An organist must surely not be blinkered to other compositional genres. A strong pianistic fingering reaps benefits in organ repertoire I think. So, although you can use a digital instrument in the home for this music, I fear that it would be used instead of the pianoforte as a 'tool of the trade'. Therefore the attraction and temptation of sound simulated from a three or four-decker in the Music Room should in my opinion be overcome for almost all the time. Sorry! N

How lovely to read. In a nutshell then, I suggest a player must be strong and differentiate very often between practicing the sound and practicing the music. Youngsters (and some not so young) are of course drawn by the sound of the instrument. With the organ there is a great temptation to practice the former when the teacher is hoping for the latter! I suppose it is the teacher's job then, to show how a student should practice on any instrument. The two disciplines in my mind come together in one ecstatic fusion after all the work has been done. That's one mighty great reward! Best wishes, N

I have found this topic illuminating - thank you. I have one observation which I share and one which really has come about by my hearing many students and others practice. I believe that there is a distinction between i) playing the organ and ii) practicing at the organ. The former suggests to me that we have the stops drawn and there is much sound. With the latter, we surely aim to get the correct notes by the best arrangement of fingering and pedaling, articulation and phrasing. Therefore for the home we need only to address and purchase what is necessary for ii) - which surely answers the topic heading. If we need performance, then we require i) I perform at home - but normally in the kitchen or on my piano. Having now got two manuals and pedals and two extraordinary 8fts, under my roof (and in a most handsome piece of furniture to boot), I can honestly say my cup has overflowed. The excitement of putting the sound to all the domestic labour is tremendous when you reach the church or concert hall. In retrospect, I would only have a digital instrument to mess around with the sounds (and no doubt at the expense of doing work). and all the time imagining of being somewhere where I wasn't. I would then slip into the same rut that numerous students find themselves in. Readers might be interested to know that once I did an experiment with a student who made oodles of noise all the day and drove everyone in three Quadrangles mad. We made a pact that if he only practiced on a single 8ft or 4ft we would use all necessary sounds in the lesson. Do you know, he learned things far better and almost twice the amount; was immeasurably more secure; and the frison that ensued from adding stops for the first time in the lesson was hugely rewarding. You can draw your own conclusions. All best wishes, N P.S (added after re-reading and realizing that there must be a Romantic compromise). Of course what I suggest above, is for music before the Romantic and Contemporary times. My instrument is only for all that music that I prefer mostly to play these days. For Romantic music I still use the pianoforte, as much music is so clearly based upon that keyboard's influence. Granted - a visit to the church is required to put much of this together. But the difference that occurs (in my estimation) from diligent study of organ music on the pianoforte, pays dividends. Phrasing and rhetorical interpretation is strongly helped. The organist can then also explore the works of the same composer written for the instrument and enjoy the similarities. An organist must surely not be blinkered to other compositional genres. A strong pianistic fingering reaps benefits in organ repertoire I think. So, although you can use a digital instrument in the home for this music, I fear that it would be used instead of the pianoforte as a 'took of the trade'. Therefore the attraction and temptation of sound simulated from a three or four-decker in the Music Room should in my opinion be overcome for almost all the time. Sorry! N

Oops! I used them for Climax No 10 in last year's concert . Being a Magistrate I considered it just judicious enough for their use in the circumstances. However the heavens didn't, because following the concert neighbouring Sheffield suffered appalling floods. Nigel

Any Passacaglia/Chacone will also be good to include. Most movements from French Baroque Suites are in differing dance forms too. And from beyond the grave you can include a ghoulish transcription of S-S's Danse Macabre. Along with Song - this is one of the more interesting and easy ways to compile a programme with the golden thread of an idea. Just what I like. All the best. N

I had to call by St John the Baptist, Armitage (Staffs) this Spring and was most interested to play the 1789 Green and subsequent Holdich (and others) from Lichfield Cathedral. You can play a 16ft Diapason (Metal) that is G compass - thus c. 22ft - but now on the Pedal. Beautifully made pipes but in a rather unfortunate position. If only this instrument could be 'taken back' to a proper time as it was lurched into a more present age with some unhappy (to me) recastings of a very important instrument. Grand pipe decorations too. Are these the oldest UK 32ft pitched pipes (albeit not of complete ccc compass)? Best wishes, N

The Abbey Church of Saints Peter & Paul at Malmesbury (Fagotto) and the Sackbut in The Abbey Church of Saints Mary & Thomas, Wymondham need to be included in this list for all those readers hooked on statistics. Nigel

I wouldn't think so. However, I would certainly press for the 4ft Flute on the Swell to be included and the 16ft Reed on the Gt should things ever go further. The latter only requires pipes and all would speak. The Solo is just a collection of sounds that does nothing to add to the whole which is mighty fine. The Swell (with the addition of the 16ft reed to the Willis original by H & H) is stupendous. The instrument has always been in the care of H & H and they are doing the necessary work this time. A good clean would also work wonders and so we live in hope. I think we have run out of discarded 32ft flues in the country to contemplate that being added. As it stands it has great character; a magnificent tutti and an abundance of softer 8ft registers. N

Members must surely rejoice with me that a considerable amount of work is being done soon on the great organ in St Augustine's. The whole of the Pedal division will be brought back to use and the Swell action will be restored thus making the organ complete once again. This is excellent news and I long for the day when I can play it again for a wonderful High Mass - an experience which I have sadly missed for a few years. Somewhere else on the Board is a photograph that I posted some time back. Others might know exactly where it is. For those who do not know this church, it is a sensation in every sense and lifts the heart. Do visit. Here's a link (just found!). ST AUGUSTINE'S KILBURN All best wishes, Nigel

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Observations from a sunny country garden. It must surely be stated that some of the Novello edition volumes are some of the very best to secure and they are at a more than reasonable cost than others from abroad. Walter Emery was a scrupulous editor and you can play with assurance from any of his pages - the best being the Sonate. It is a pity that some Novello volumes need a re-think (in the light of present opportunities for inter-continental research), because they maintain editorial traditions of a century ago. However, a player can go (as they always must, I say), beneath the phrase additions and the Englishness of registrations, as the notation is what we are all after, after all. Historically though I say, those registration schemes must be treasured as it showed how such instruments and teaching were used and imparted in our shores. It is all a link with the past. The same goes for Guillmant and all the French Baroque music. The right dots are (mostly) there. The squiggles are there. What more is necessary? As for toes - the feet, like the fingers -are there to communicate the music. So many instruments are unutterably dissimilar that not only is orchestration/registration quite different but also the way they are played. Unlike almost any other musician, the organist must adapt in so many ways - quickly. Therefore, to communicate the music as the brain wishes and the ears demand, I say, do what will work the best to achieve this goal. However, in BWV 648 you land in stomping trouble if toes are only used. The nature of the original bowed music can sound ever so wooden I think. Best wishes, NJA