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Nigel Allcoat

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Everything posted by Nigel Allcoat

  1. Hearing that recording made me want to experience it for myself - hence programming it when I played. The recording from Selby (which I heard on the radio first of all) was the reason that I wished to study with him. I love these posts as it brings back so many glorious memories - hence my replies, if you can forgive their frequency. But it does stop me writing my memoires! N
  2. It was broadcast too but unfortunately the 32ft reed was lacking - certainly in the Liszt. It was there by the time I visited!! It was an instrument to make a teen swoon.
  3. There was a recording by Murray Somerville quite early on in the organ's life. As for 'good or otherwise' - like beauty, it is in the eye of the beholder. But I was invited to give a concert by the college just after it was completed and then a few other at later times - most notably one to celebrate the tercentenaries of Bach, Handel and D. Scarlatti. There is a private recording of it kept in London. This organ in my early days was the one that most inspired me - it was an iconic instrument. It was/is brutal in appearance but that was the vision of its creators and of its time. The voltage that it generated was stunning and today I can still remember that concert - almost note for note - in 1985. But now it is somewhat different, so one must not really proffer any criticisms other than in its visual aspect, I suggest in our day and age. This has not changed. Playing "Hallelujah! Gott zu loben" when I was student with Germani in Rome was a total revelation at the turn of the 1970's as the texture was as sensational as a vast crystal chandelier. Every detail was apparent and nothing was hidden. It remains a great privilege to have played it many times and to have given countless lessons on it to the New College organ scholars and others in the university. The only other three organs in the UK from my early playing days that needed over-sized fuse boxes were St George's, Windsor Castle; Coventry Cathedral and the Royal Festival Hall. It must be celebrated for what it was and what it does to inspire, even now - although in a re-cast way. Best wishes, Nigel
  4. I have always found that teaching improvisation is very much the same as teaching any subject. There are firstly historical generalisations but more importantly one teaches individuals to gain confidence, to be fluid and musical (phrases, rests, texture), and just enough notes to say what is required. Furthermore, vapid left hand flap is not really desired in my book. Each student requires individual attention. The weak areas are made stronger and the good areas made more remarkable. Each person brings along different areas needing attention. Therefore, I have found books a good basis to gather some inspiration and to appreciate the musical stance of the writer - but like a composer, each has an idiosyncratic style that is their musical DNA. For me, a teacher of improvisation is not stamping their style on a player but a teacher winkling out the personal harmonic language of the student so that they have their own style. The major problem is that the student rarely thinks they are doing any good because they try to analyse as they play. Unfortunately, what they are doing is always looking over their shoulder, metaphorically. I use the analogy of riding a bicycle - look ahead within reason, not behind or just where the wheels are travelling or else you will crash. Frequently stop changes are made and irrational pistons pressed to compensate for what they imagine is not so good music. Teaching really only requires the most fundamental of sounds so that they enjoy the beauty of it and have no recourse to keep changing. Certainly not a tutti as that is just playing around with noise. That comes later! The organ is primarily a contrapuntal instrument and 'line' is so very important so that texture can be controlled. The reason why there might be thought to be national styles is because of indigenous liturgical music married to the the disposition of the instruments. Each player like the patient entering the doctor's consulting room, brings a different challenge or ailment and so I always say there is no one way of teaching or of demonstrating. I have sometimes learned much from a student because they challenge the teacher to teach. Sorry to be in serious mood again! Best wishes, N
  5. As I have written on Facebook (sic): Regardless of what the world might think of my standing, I've decided at my funeral when horizontal, to have the sign on the coffin 'Get me out of here. I'm a celebrity'.
  6. I have visions of the lid lifting when you say everyone.
  7. I have been asked only twice since the New Year to play for a Funeral and both have put down the Vth Symphony's Toccata to conclude as the coffin leaves the church. However, for the first I was at the last moment unable to play. I would happily have transposed it to F# major as I was in hospital with suspected meningitis at the time and the tests quite unspeakable. So, I am wondering how the Muse will affect me when it comes to doing as bid on Friday. Greatly strange choice in my estimation. Best wishes, N
  8. I have now 'caught up' as they say, and have read the various postings here and elsewhere. Time was not on my side when I first encountered the posts and I thought that I had instigated a bit of a rumpus over Improvisation - when in fact it was a series of tangled threads creating a cat's cradle in the ether. But, I do hope that as Malvern is famed for many things, somebody will endeavour to create a bridge over troubled waters 'ere long. N
  9. I always remember hearing a lecture (given with sound examples) by Mr Ralph Downes. He lamented the passing of the Hill organ (one which is thankfully still at Eton) in Westminster Abbey when it was recast in 1937 (for the Coronation?) as in his estimation it was the finest Bach chorus we possessed. I think the talk was for the Organ Club in the 1980's. Best wishes, N
  10. And the enigma deepens of course as there was a sketch entitled "In the Range at South Fork" Op 50b N
  11. My school promised never to let on about me being backward. I shall sue for every penny.
  12. To me this is one of the great hoaxes. The 'enigma' is that (I say) that Elgar composed a variation - perhaps even Nimrod - and then worked backwards and then created the Thema. I argue that the Theme and the last movement come last and that all flowed from one of the variations firstly. Before you are all sending the men in white coats - I firmly believe this to be the case. I say this as I have created a number of Theme and Variations and the last thing to be composed has been the Theme. I might be odd and utterly eccentric (thanks for agreeing), but symphonic scores like this (unlike Baroque/Classical/early Romantic Variations that mostly gently flow out of the Thema) often need much distillation to produce the very first statement. An Original Theme and Variations of mine (which is well over 43 minutes in length CRCD6041) happened just like this. The Thema was the absolute clear movement that quite automatically and simply bloomed from all the variations and thus became the opening. Sorry to add a spanner, but after all this time I think Elgar has had the last laugh - and I laugh with him when I read endless pages of detective work that gets published. But - this is just my view! He just worked backwards to the Theme and then created the final movement to finish it off. Until I read in his own hand anything to the contrary, I shall stick with this! All the best, N
  13. There are instances where you find that it is possible to transfer everything to the Positive keyboard. It perhaps was a tradition in making a huge solo line for the leading of singing using a strong and fundamental accompaniment that also helped the solo line - the RP being positioned nearest to the congregation. I remember having to perform in the large church in Deventer and this rather heavy-actioned instrument had this coupler and facility. Ewald Kooiman, also on the jury, played "My G minor" and for the fugue coupled the II to I. Worked wonderfully (but only if with fingers of steel to cope with the strength needed). The strong sounds of the Positive were needed for leading and the Bavo organ in Haarlem has the most strident stop on the organ on this department. There are some new organs where it is possible to couple manuals in all manner of mechanical ways. The College Chapel of Saint-Augustin in Bitche (Moselle, France) allows coupling II - I & I -II. Far more complicated is an organ in King's College Chapel, Aberdeen that allows I - II, II - I, III - II, II - III. Therefore (after rehearsal!) it is possible to have your tutti on each of the 3 keyboards at any one time. Best wishes, N
  14. In France there was no such compound stop as a Sesquialtera in older organs - only more recently in modern instruments where it can be found at 16ft and 8ft pitches in different departments. The positioning of the Baroque Larigot on the Positive was used in a variety of ways and its use has been occasionally documented by different composers/players. One of the more striking and scintillating uses is to accompany the movement 'Basse de Trompette'. Bourdon 8ft and Larigot on the Positive with all 8ft Grand-orgue Trompettes and 4ft Clairon for the solo. The sparkling sound of the accompaniment makes the player play with great life. (The notion that only one reed stop plays the solo is rather a non-French thing and rather weak). The sensation of using all the reeds makes for brilliant and spine-chilling movements demonstrating the performer's great dexterity and musical panache. Some folk have suggested the addition of the Larigot as part of the combination for a Tierce on taille. I treat all 'recipes' given to us for organ registrations with a certain reverence, but actually in the end it boils down to the taste of the player coupled to the sonority of the instrument and the interpreting of the notes. However, it is always good to start off with what the composer has mentioned - even for Romantic and Contemporary music. (The French are just as good at writing for the performer in le Cuisine as they are for the le Tribune!) But in the end it is the Chef in both places that has the last word. Always. Tous mes meilleurs souhaits. Nigel
  15. The church had a vote and no way do they want anything digital. But after £2 million on the building they really only have insurance for the organ plus some more if needed. So nothing new - but a good (and in keeping) 2nd hand is going to be the ticket. The lighting and the restoration is excellent and we shall do our best to install something apposite DV. I heard of your comments. Good guy! Hope you thrive amid your stereophonic wonder! Nigel
  16. URGENT for immediate FREE disposal/collection. The interior pipework is fine (and fire-damaged decorated pipes) from Leamington Hastings and some from Chipping Norton. The latter has been seriously let down by a noted organ builder who has promised the church that they would have the pipework and their faculty for restoration of stonework and commencement of work hinged on these ranks leaving the church. They write to me: Enclosed Choir Viol d'ochestre; Dolce; 4ft Flauto magico; 2ft Picolo; Clarinet; Vox humana Swell Open diapason; Vox celeste (from tenor C); Viol da gamba (full compass); Vox angelica (full compass) Note: The bottom two pipes of all unison full-length ranks are mitred We would be happy for these pipes to go to anyone in the organ-building profession, for whatever purpose, provided they could take them away quickly. Failing rapid removal, the early provision of a stack of pipe trays pending collection could be a possibility. The pipework from Leamington Hastings is in store at £200 a month and for the church to proceed in getting and purchasing their new pipe organ this needs to be disposed of as quickly as possible as well. Please concact me if I can help of if you know of somebody who would like some free pipework ( and structure, as in the instrument from Leamington Hastings). All best wishes, Nigel
  17. John is quite right, and properly created will last life-times. But I am not of the camp which spends as much on pipes/stops as possible at the expense of the casework. As an object of beauty as well as sound it will be a piece of furniture for most of the time and thus to my mind needs care and craftsmanship in all the exterior (as well as interior) design and execution. N
  18. In other words, ditch the garlic granules and bring on the horseradish?
  19. I have just seen the paperwork that says the grand Taylor from Loughborough (details) is to be installed into a church in Brittany. This is the organ with a Violon on the Pedal that sounds like Bassoons, Contra Basses and Trombones rolled into one. A huge and splendid Gt Chorus and what I have always thought to be the finest organ in the Diocese of Leicester. There were a few odd additions on the Choir - but this is a stunning sounding organ of immense stature - now sadly lost to us. Brittany's gain. N
  20. Nigel Allcoat

    Oxbridge

    There is so much DNA attached to this instrument because of this gruesome design feature that it surely reads like a Who's Who of the organ playing world. Thrice I have been gouged so have 3 entries. Playing this organ can scar you for life. N
  21. Do I seem to remember in the 1970s/80s that the Droitwich radio masts played (sic) havoc at times with a newly installed action in Worcester cathedral - or am I dreaming this? N
  22. Jeepers. So if the telephone lines are down, one is jiggered.
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