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Nigel Allcoat

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Everything posted by Nigel Allcoat

  1. I was hauled into a meeting to be told be an eminent clergyman that "I needed to be more amateur in my job". N
  2. Seemed to give greater foundation and a more roseate-hue to the Plenum as far as I can remember. N
  3. And the previous Titulaire was blind at Bourges! Metz Cathedral takes a lot of beating as you have to walk over the sloping roof of the South Choir Aisle (not on a frosty day) and re-enter the Cathedral at Triforium height through a window. Then one has a substantial and mostly unprotected expedition of many meters to reach the Renaissance organ that hangs about 100ft from the floor of the Nave. The tiny little bird's nest of a console allows the players to see the length of the building every time you (dare to) change stops. One has to be more than a fanatic/lunatic to be an organist there. N
  4. Many years ago I found the organ loft in St Giles, Cripplegate to be a cross between a kitchen and a boudoir with a range of mugs, cups (perhaps a kettle) and make-up. Added a new complexion to my reading of Bach at the concert. I also remembered seeing an eminent organist in Paris rehearsing Trois Danses and chain-smoking at the same time. best wishes, N
  5. If players want to know how to play an English organ - go to good teacher. The same applies to an organ in any country. Any reference to pistons/combinations/swell pedals/multi-channel/etc. etc. have to my mind, not a jot of interest about how to play an instrument because they do nothing for the making of music but just for the enabling. Fingers, feet, ears and musical taste (which changes just like taste in the design of most worldly articles from any age) is what needs to inculcated into the receptive mind of the musician. You can write books until the cows come home and when the next change in musical taste comes along they are then relegated to the shelves as historical documents. From Père Mersenne onwards we have the most remarkable documents but are to us now knowledgeable sources which must always be at hand. See how the Highway code has seen changes over the years. The high-tech gizmo's on present day cars still make them lethal weapons in the wrong hands. The same is true of organs although thankfully only music is murdered. No matter how much is read and how much you watch, guidance into 'the paths of righteousness' can only come through sense, good taste, ears, technique and the discipline to practise all areas diligently as often as possible with proper guidance. We all never stop learning. Certain 'wrinkles' in manipulating the British organ came about out of necessity, I often have thought. I could never understand why my first teacher when playing in the cathedral on a huge H & H and quite a distance from the choir created the 'plug-hole effect' at the end of pieces - especially big ones like the end of Stanford in C. But now I understand that it was the only way the choir knew when to stop as he firmly only believed that the choir was only conducted when unaccompanied. Even for BBC Choral Evensong he would play perhaps for the Psalms and let the Assistant play for other things. This was tradition. How many Cathedrals today can you see the choir sing without a conductor? Times change. But the choir was at times stupendous and utterly musical as all the musicians listened and after time were a cohesive musical machine. Being a good accompanist stems from being a good pianist in this age and after having played all manner of Duos and songs not to mention continuo works with figures. How can we play Fauré on the organ if you don't play the songs? Likewise, is it really possible to conduct just the Requiem without first knowing some songs? Singing some in unison is a wonderful treat for any choir attempting to put that extraordinary lyricism into the Agnus dei. or the Libera me, Domine. (Try getting folk to sing some - if not all - of the Trois mélodies, Op.7). I am sure the Soloist will have done so if he is worth his fee! Even playing the piano has changed. Mendelssohn rather baulked at the inability of the great Clara to play a chord without spreading it - so to stop her 'ruining' his music he actually wrote Spring Song for her so it would sound as she normally played! I would hope that most here might agree with me that for us to make worthwhile accompaniments for the Romantic service music we have played the Songs without Words during the formative years - just as the '48' and the Suites and Partitas were the staple diet of 17th/18th Cent. keyboard repertoire for us before approaching that for the organ. I was totally banned from playing/learning the organ until over 16 as it would not be good for me! But I think it fine advice in retrospect but not at the time! After playing the piano for a concert in a North German city with Norman del Mar I spied an organ in the hall and asked to play it. To my horror I couldn't even get it to work except by using the 'rolling pin' as I called it. Mr del Mar said he could never have truly conducted with the depth of understanding without first being an orchestral player. The organ is so often likened to an orchestra and thus, to me, to bring it alive and to stop it being just an extraordinary piece of design that has been honed over a couple of millennia we must stop it sounding as mechanical as it so surely is. By all means read about it and dream about them from seeing pictures and the like. Just as music is dead on the page we must bring alive the great musical monster and make it is musical and sensational as we possible can. To the end of time, we shall never get to the bottom of it all! I find it so heartening to read here the passion about the instrument, but if I am honest, it is the very least of my priorities. I am always wanting to be lifted by the musical out of the impossible. Best wishes, Nigel
  6. The change/demise was down to a Baronet who introduced the first British undulant on an organ in Central London. Discuss!
  7. Off my head, why not go to Rotherhithe S. Mary? I feel that you will find there about all of which Marsh writes. I find it strange that so little of our glorious British past is all but forgotten (and not taught hardly at all). There are amazing works to play (well), but frequently overlooked in favour of dazzle from other nations. The sublime moments of the slow introductions of English Voluntaries are models of beauty and invention and should be the basis of many-an improvisation today. Some movements from William Croft out-surpass anything from the French of the same time. I played some of his music once and was rushed by players (led by Ewald Kooiman) in the audience wanting a score. Proud moment! N
  8. It is perhaps good to start earlier on in time from our present day and see where much of our tradition stems. I post what was printed in 1791 concerning registrations and the actually playing of the organ. It is of note that about that time church music was leaning far more towards the secular than the sacred and there are some terse comments (quite applicable today) concerning style and the use of the swell box. The principal Stops in the Great Organ, are the Diapasons and must always be drawn, no other Stops being to be used without being joined with them, though they may themselves be used alone. The Cornet is only a half, or treble stop, and it ought never to be used in the Full Organ, but only with the Diapasons, in Voluntaries, giving out Psalm Tunes, Symphonies or Anthems etc. When the Trumpet is used as imitative of the real Trumpet, it is then only joined with the Diapasons. Reed Stops are the most liable of any to get out of tune, (particularly the Clarion, Vox Humana, and Cremona) of which the performer should be aware, when he fixes upon his Voluntary, especially in the Country, where the Organs are in general very much neglected. The Flute in unison with the Principa ie. 4' is frequently used alone but is more properly joined with the Diapason. No Music can be expressive that is not accented, marked, or enforced at proper intervals This may be in a great measure effected on the Swell of the Organ, by the management of the Pedal, especially in slow Movements, (which are most proper for the Swell) but on the other parts of the Organ, must be done by other means, such as Appoggiaturas, and by occasionally doubling the Bass note at the accented parts, by taking the Octave. For the Diapasons, the style should be Grave, and of the Sostenuto kind, gliding from note to note, or chord to chord, with almost always a holding note either in the Treble, Tenor, or Bass of the Organ. If the Principal 4' be added, the style may be more brilliant, the fingering more staccato, and quicker passages may be executed with better effect than on the Diapasons alone. For the Trumpet, the style should also be grave, and majestic. The Bass should be played on the Diapason, Dulciana, Principal and Flute of the Choir Organ, except now and then by way of Contrast, particularly towards a grand Close, when the Trumpet Bass (qualified by the Principal) or Full Organ may be introduced with great effect. For the Cornet, quick Music, in a brilliant style, is proper. This Stop though frequently used in Voluntaries before the first Lesson, is yet, I think, of too light and airy a nature for the Church. I should therefore recommend its being used but sparingly in Voluntaries, and only in the Minor Key, except on Festivals and joyful occasions, for which it may properly be reserved. The Bass to it may be played on the same set of Keys, provided the left hand is kept below middle C. The Flute may be played in much the same style as the Cornet, except that the Bass may be played on the same Stop, which being an octave one ie. 4', there may be more execution with the left hand than usual on the Organ. This also being of too light and trifling a nature to be much used in Churches, I think entire Flute pieces should be avoided, and the Flute only used in an echo, or by way of relief to the more noble parts of the Organ. The Stopt Diapason and Principal are together capable of as much Execution as the Flute alone, and the same style of play will therefore serve for them ... being by no means so trivial in effect. For the Cremona, or Vox Humane which stops should only be used with the Diapason, the Cantabile style is of course proper, confining the right hand to about two octaves, or more, from about the C below middle C upwards, and playing the Bass on the Diapasons. The manner of playing the Swell requires more judgement than any other part of the Organ, as by a judicious management of the Pedal, the human voice may be much better imitated than by two Vox Humane; the Cantabile style is therefore also proper for it, though it is capable of a considerable degree of execution, particularly when the Cornet is drawn. Double notes and Chords judiciously swelled and diminished have a good effect. The Bass may generally be played on the Stopt Diapason and Flute of the Choir Organ (with or without the Principal, according to the number of Stops drawn on the Swell) or where the compass of the Swell extends below middle C, both hands may occasionally be employed thereon. The Swell is frequently used as an echo to the Trumpet, Cornet, etc. The finest Mixture ie. combination, in which is, that of the Diapason and Hautboy, with the Trumpet to strengthen if required. The Cornet in the Swell should, I think, never be used as such, but only used with the other Stops to make a full Swell, as an echo to the full Organ. As to the peculiar advantage and effect of the Swell in expressing the Pianos, Fortes, Crescendos, and Diminuendos, the performer must consider that the mere see-sawing the Pedal up and down at random, and without meaning, can have no better effect than what is produced by a peal of Bells ringing on a windy day. After learning the proper method of touching the different Stops, the next thing to be attended to is the proper selection of them for Voluntaries, of which those before the first lesson should be generally introduced with the Diapasons, or Swell, after which the Trumpet, Vox-humane or Bassoon may be used with intermediate passages (for the sake of variety and contrast) on the Swell or Choir Organ. As the real Trumpet is not capable of modulating into different keys (without which music soon becomes tiresome and insipid), a transition had better be made for that purpose to the Flute, (in a minor key) [onl the Swell or Choir Organ, after which a return may be made to the Trumpet. The Cornet I have said before should be but sparingly used, especially in the Major key, when however it is introduced, I think it should always be succeeded (if but for a few bars) by the Diapasons or Swell, so as for the Voluntary not finally to conclude with the Cornet. For the concluding Voluntary, the Full Organ is generally, and I think with propriety used; in which the Performer (at least after a few bars in a grave style) may be allowed a little more scope for his Fancy and Finger, than during divine service. When however it immediately succeeds an affecting, pathetic discourse, I think the Organist should endeavour, in some measure, to co-operate with the Preacher, by adapting his style accordingly, for which purpose, some soothing gliding play on the Diapasons may be proper, for some little time at least, till those who may wish not to quit every serious idea may have time to go out, after which a return to the full Organ may be made; as nothing tends more to drive people out of that frame of mind than a light, trivial Anthem; or a rattling, noisy unmeaning Voluntary.' What food for thought! What apposite sentiments - even for today writtn by John Marsh in 1791! I have added bolds etc to draw the eye to certain important features. All the best, Nigel
  9. I am happy to say that a builder comes to take all away on Tuesday. It has been so heartening to receive so many encouragements from a multitude of people both publicly and private. I had no idea that help could come so quickly. Blessings, Nigel
  10. Following the vandalism of the church last week, the stripping of the roof of copper on Monday and the closing of the church this 1955 Nicholson Organ needs to removed at the earliest opportunity. http://www.npor.org.uk/cgi-bin/Rsearch.cgi...ec_index=D03111 Good stop-knob console. Electric action (of course) and most useful pipework. Good and fine Trumpet. OFFERS!! and removable asap. Do get in touch if you would like more details. This could be somebody's gain and they would also earn the gratitude of a most devoted and sorrowful parish which has been so badly let down by 'cutting edge' architects in post-war Coventry. Best wishes, Nigel
  11. reminds me of the large poster in the Electricity Showroom when they sold appliances, which urged "Husbands! Don't kill your wives with work. Let electricity do it for you".
  12. Wise words. One surely must now be careful to recognize the differences between restoration, reconstruction and conservation. Nigel
  13. I had to play this organ (in this divine Abbey) to the Diocesan Organ Advisers' Conference the other year after which a number (having tried the organ themselves afterwards - and also coming away with bruised fingers), nicknamed me The Karate Kid. N
  14. It is quite possible that he has been enthralled by the construction of the new organ for his new cathedral position over the past year or so as it is being constructed around the corner, so to speak, from his present instrument. Could this be an uncanny coincidence? N
  15. Without want to suggest repertoire, I would look closely at the specification of the instrument concerned. Can you provide a link to the National Register? If you have a chance to hear it, that also is a good help. The other thing to consider is how much rehearsal time you are allowed. The practical points being appraised frequently can lead you to the correct repertoire to play in such situations. All the best with it all. Nigel
  16. There's an awful lot of greenfly about don't you think considering the very cold winter?
  17. Do you think it's going to be the driest summer on record?
  18. I think you meant to say that your English would be highly polished after insertion. N
  19. I have encountered one injustice over a number of years that has taken much sparkle and personality from such instruments - namely the swathes of fitted carpets that seem to adorn sic sanctuaries, chancels, naves and aisles, not to mention the abundance of needlework hassocks and pew liners. The 'Vierne' organ in my local town lost a vast percentage of clout after the whole (large) church was completely carpeted. This coupled together with a necessary rebuild, made the church scrap it in favour of purchasing a second-hand organ of roughly the same vintage and remodelling it to suit - with (in my estimation), little difference. Gothic architecture and A1 Axminster to my mind don't marry. What it does for ambiance is murderous. N
  20. Try this as a link to a drawing. There are a number of photos of the spire if you Google "Images". Have a hunt. Best wishes, N
  21. I would dearly have loved to have seen his (Scott's) church in Hamburg (destroyed by the allies) which was the tallest (147.3m) in the world for 2 years after the spire was completed in 1874. The Spire (like Coventry) still remains and is the city's second tallest building. We forget that British architects were/are highly regarded aboard. I was also amazed at the Scottish work in and around St Petersburg when I first went there. Best wishes, N
  22. Sounds like a cowboy thingy! But to be more serious - the Padgham book is an absolute necessity, and so reasonable too. N
  23. And if you were lucky enough he would no doubt feature the concert in one of his Radio programmes as a bonus.
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