Philip
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Posts posted by Philip
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Link amended now - thanks all.
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For those who may be interested, the orders of service for both the Christmas Eve live broadcast and the recorded TV version can be downloaded from http://www.kings.cam.ac.uk/events/chapel-services/nine-lessons.html
I don't know whether it required some hasty adjustments on SC's part, but we certainly have a good tribute to Philip Ledger, with his descants to 'Once in royal' and 'Hark the herald' featuring in both services, as well as two choral pieces in the live broadcast and one in the televised version. In addition to the commissioned piece 'Ring out wild bells' by Carl Vine, there is a new John Rutter piece 'All Bells in Paradise' which again features on both services and was written for the CD they have just released. For aficianados of the Christmas Day repeat on R3, the second voluntary this year is the Durufle Toccata.
As always, much to look forward to (well, I like them anyway!).
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Thanks for the replies, always interesting to hear what fellow correspondents are playing.
I've looked through the Oxford book and will be using a number of the quieter pieces in a mini-recital (well, three identical ones actually!) I'm giving during our Christmas Tree Festival this weekend, including 'Walking in the Air'. If you're wanting proper organ music, stay away!!
Guilmant 1 isn't going to work in time, so I've reverted to Andrew Gant's 'Toccata on Mendelssohn' for the Carol Service - its straightforward and quite arresting. I have looked at some of the louder numbers from the Oxford Book and think the Rutter piece on 'God rest ye merry, gentlemen' to be quite good but I haven't got sufficient time to devote to it this year; the Willcocks piece on 'Hark the herald' has an imposing start but the rest is quite repetitive so I don't think I'll bother.
The rest as planned above, apart from the chaotic crib service on Christmas Eve afternoon where I need something with volume to even be heard...with no Order of Service printed though I can see how I feel on the day!
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As you wish to 'let your hair down', and bearing in mind that we have recently lost Carlo Curley, how about one of his favourite recital pieces: Gaston Dethier's 'Christmas'?
According to CC, though, it's a bit 'challenging'!
Thanks, not a piece I knew, but at 15 minutes I think it'd be a bit lengthy for a service voluntary. If I programmed it for Midnight Mass they'd probably be locking me in the church!
I've taken the liberty of ordering the Oxford Book of Christmas Organ Music, which should arrive this week and may provide some inspiration. I note that they are shortly to bring out a companion 'Lent and Easter' volume as well.
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Yes, I know its not Advent just yet, but I spent some time this afternoon mulling over what I might like to play for our big Christmas services and am not feeling particularly inspired, so I thought I would see what fellow contributors are planning to do (if you have planned, yet!).
My current thinking is
Carol Service - Guilmant 1 Final (if I can get my fingers round it in time)
Midnight Mass - BWV 729 (most people, including me, want to get home by the time this finishes!)
Christmas morning - not sure, I tend to do a let your hair down job, so I wondered about getting M. Lefebure-Wely's Sortie out of the cupboard again...sorry, everyone!
However, I am open to suggestions and am not averse to something else or indeed something new if it is pretty straightforward, but I do like something loud and fairly impressive for these major services. Any suggestions?
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There is a piece by Wilbur Held in Cramer's publication 'The Church Year' (which contains Chorale Prelude type pieces for all seasons). It is straightforward and if I recall marked ff throughout (which on your organ probably means pull everything out I'd guess!).
I don't know if it is published separately, or if there are any YouTube performances to view (I'm at work at the moment so can't access YT).
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While not directly related to organs, contributors may be interested to know that a new edition of Hymns A&M is to be published in January - further information is available at http://www.newaandm.co.uk/.
This certainly looks like being an interesting publication, which may at last challenge Kevin Mayhew's HON series on the breadth of its content. With John Barnard on the editorial team, I am hopeful that musically at least it will be sound. The preface (which can be read on that site) is full of promise, and I certainly hope that this book follows in the spirit of the excellent Common Praise, which is still for me the hymn book that traditional Anglican churches should be using.
My only concern is the physical size of the book, with over 800 hymns, although the reputation of A&M is such that I'm confident the binding will be good. I've requested a sampler, but if it is as good as I hope I may try to persuade our church to purchase some copies. I suspect the main challenge will be persuading his nibs to accept their eminently sensible editorial policy on politically incorrect words (which again sounds similar to that used in Common Praise). As always with Canterbury Press, there is a generous grant scheme when purchasing 20 or more copies, with a reduction of 35% initially until April - although at £30 for a full music copy the initial outlay is considerable.
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I play his Benedictus (presumably the first one, in E). Its lovely and wallowy!
I also picked up (second-hand I think) a CP on the tune to Rock of Ages which I rediscovered when I did a sort out of my music a little while ago. Fairly harmless, I will probably use it pre-service next Lent.
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But to say that he had spent six or seven hours practicing on the Opera House organ and still didn't feel at one with it (I don't remember exactly what he said) says more about him than the organ I suspect.
More than that, does he realise how fortunate he is to play these kind of organs on a regular basis? True, few organists possess his technical ability, but there are dozens of proficient organists up and down the country who I'm sure would love to have the opportunities to play such instruments. It seems a bit of a shame when all he does is complain about it.
I guess the view is that showmanship and virtuosity are more likely to fill concert halls and attract a wider audience.
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I can't confess to knowing all the Widor symphony movements. However, is there a reason why not much of the material has made it into the mainstream repertoire? Is it too technically demanding, or just not brilliant music?
Obviously we have
5 - Allegro and Toccata (the former is much more interesting, the latter ubiquitous!)
6 - Allegro and Final (I've never found the Final that interesting though I'm afraid)
1 - Marche Pontificale (an excellent, rousing piece)
Beyond that, I don't think there's much in there that we could call mainstream is there? The Final from 2 is a good piece, and I like the Final from 8 as well which has a nice rhythmic drive to it.
As to the most coherent, I couldn't say.
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What’s wrong with The Arrival of the Queen of Sheba? (Not picking a quarrel, just curious.)
It just does nothing for me, so I can't be bothered to learn it! I guess it feels too much like arpeggio practice.
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Perhaps its just me, but I've played it a few times now in services and I don't mind the ending at all.
Its not one for the purists, but it makes a jolly ending to a festive service.
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It is a long time ago that I took services in one of the free churches, but I had been taught that the service needed to be planned as a whole, with the readings, hymns and sermon related to each other, and if the DOM chooses the hymns, the lectionary prescribes the readings, and the preacher chooses the theme of the sermon, without some co-ordination won't the result be an unrelated ragbag?
Well, I do take care with the hymns I pick. Every time I do a new list I sit down with the Bible, RSCM's 'Sunday by Sunday', a book called 'Sing God's Glory' (which gives lectionary-based selections - a good buy at about £10 if you're in the business of choosing hymns) and the indexes at the back of HON and Common Praise (which both suggest hymns based on the lectionary) and put the list together using these. Then I just need to strike a balance between traditional and modern, not repeating something in the three month period and fitting the hymns into the right place in the service; if we have smoke (major festivals, mostly), you need an extra long offertory hymn to cover the censing of the altar and congregation, and so on. Some readings lend themselves to specific hymns more easily than others, so how well they fit can vary a bit. A couple of months ago, the curate did ask for a specific hymn to be included to match her sermon, which we did, but given the pew sheets with the hymn words are printed on Thursdays, I wouldn't be totally confident that our vicar will have decided by then what he will be preaching about! Sometimes I will listen to the sermon and feel slightly smug at how well the hymns fit; other times they don't seem to work that well. Its not an exact science, but bearing in mind all the different factors you have to work with it never will be. Lets face it, picking hymns can be a pretty thankless task which is more likely to lead to complaints than congratulations, but given I don't get too many of either I think I'm doing alright!
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Different vicars operate in different ways. I'm sure in many Parish Churches the DOMs pick the music without any interference from the clergy whatsoever. In Cathedrals its usually the Precentor.
I currently pick the hymns at our place, and the vicar is happy for me to do so on the basis that he may change them as he wants. As such I probably pick less modern ones than he would like but try to include sufficient that he is happy and doesn't feel the need to change them. Its been a long while since he has, as well, at least a year I would guess. When I prepare the next quarter's list I usually ask if there are any he would like including (where practical) which also helps me to regulate on things which we might not have sung for a while. When picking thematically some are easier to allocate than others. Some weeks tend to be better than others, but such is the way.
I don't think I would ever refuse to play something, though. Surely whether services can be withdrawn depends on whether there is a contract and the organist is paid, or if they are offering their services voluntarily.
When I saw the title I assumed it would be about wedding couples requesting awkward things! I can't be bothered (for example) with the Arrival of the Queen of Sheba. Fortunately, I've not yet had it requested.
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i) The key signature has three flats.
ii) Schweitzer says "The prelude in E flat major ... symbolises godlike majesty". [Albert Schweitzer, J.S.Bach, Vol 1 p.277]
iii) Peter Williams notes that the structure has three ideas, and adds that "It has also been seen as a depiction of the Trinity", with the first idea (bars 1-32 painting "majestic, severe Father", the second (bars 32-50) painting "the 'kind Lord'" (Son), and the third (bars 71-98) painting "fluid, incorporeal (Holy Ghost). [Peter Williams, The Organ Music of J Bach, Vol 1 pp. 184-5]
Given all the internal evidence that Bach regularly got up to that kind of thing in the Cantatas and elsewhere, it would be a little rash to dismiss such notions out of hand.
Ian
Thanks. I remember seeing a lengthy list of the links to the number three in the fugue (e.g. the length of the three sections at 36, 45 and 36 bars respectively) - this doesn't seem quite as compelling but I can see the logic behind it.
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I'm not sure I would call Central Orb 'baggy and second rate'. I'm not entirely convinced it was quite right on Tuesday - but it is a fine piece of church music. The reviewer rated the Will Todd piece quite well, and praised Simon Johnson's 'Cwm Rhondda'. It would be nice to see a score.
It must be quite a tricky situation for Will Todd to be in - what he composed for Tuesday would have been many people's first and only impression of his music. Rutter has at least achieved fame already so his reputation is made. I was a little disappointed that only the upper voices sang (OUP are advertising an SATB version though), but the whole 'Diamond Choir' idea was a good one and they sang well. I wouldn't say it was a memorable piece, but it suited the occasion quite nicely.
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I expect many correspondents will be watching the celebration service from St Paul's tomorrow morning, which kicks off at 10.30am. The order of service is online now:
In brief:
Beforehand, two bunches of organ music interspersed with the Band of the Welsh Guards.
Vaughan Williams Te Deum in G as the introit for the Queen's Procession.
O thou the central orb (Wood) as the anthem after the Sermon.
A new Will Todd anthem 'The Call of Wisdom' shortly before the end, based on words from Proverbs - this will be interesting as I quite like his stuff. It will be sung by the home forces plus the 'Diamond Choir' auditioned from around the UK. It is already available from OUP and a new CD of Will Todd's music has been launched today which features this as the title piece (also on the disc is his rather lovely offering for CfC5, which for me was one of few highlights in the new anthology).
Hymns are Old Hundredth (RVW), O praise ye the Lord, Guide me (arr Simon Johnson - should be interesting) and the Gordon Jacob National Anthem.
Simon Johnson will play them out to 'Orb and Sceptre' - then the Welsh Guards will do some bits but I don't expect we will hear them. Technically O&S is the current Queen's bit of Walton, but I'm sure its relative difficulty compared to 'Crown Imperial' has put a few organists (including this one) off learning it.
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The worship band in my current church were all on holiday so we decided to go for a "traditional organ" main service. St Ann Prelude at the start (announced, and after the congregation had come in but before the first hymn), Wir glauben all' an einen Gott during the Peace, Christ unser Herr zum Jordan kam during Communion, St Ann Fugue at the end and hymns throughout. Unusual for that particular church to say the least, but appreciated none the less. I think it helped a lot that the minister introduced the service by explaining the Trinitarian significance of the St Ann and the relevance of the Clavierubung III chorale preludes to the Eucharist (yes, it was Trinity Sunday after all). After all, how often does the Eb P&F get played in churches up and down the land on Trinity Sunday and the organist is the only person in the building who knows why that, rather than any other piece, is appropriate for Trinity?
Out of interest, does the St Anne Prelude have any Trinitarian relevance? I thought that was just the fugue (likewise, the Prelude doesn't really have anything to do with St Anne. I guess this P&F don't stick together in the same way as some others do). I'm very much one for not playing the same stuff on the same Sunday year after year, so yesterday was a welcome opportunity to vary things but I expect I shall return to the Fugue next year on Trinity Sunday. It is without a doubt my favourite piece of JSB organ music, and unlike much organ music which I find just evokes moods (e.g. celebration, nice to listen to, reflective, sombre, or just that it is great music) I feel it has real spiritual qualities. The entry of the third 'dancing' subject and then the final pedal entry are more than just great musical moments.
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As we're in the middle of the big weekend of celebration, I wondered if members here are involved in any special services or recitals to celebrate the Diamond Jubilee? I know lots of churches and cathedrals are having celebration services.
Not too much going on in Beeston - on Tuesday his nibs messaged me saying 'I think we should sing the National Anthem on Sunday morning', and we've also inserted the Old Hundredth. Voluntaries will probably be Nimrod at the start, and definitely Crown Imperial to finish.
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Incidentally, I had to play the Faure Requiem last term and was wondering quite how to handle the 'Sanctus' which takes a bit of working out. In the IMSLP library, there is a complete organ arrangement by someone called Pawel Jura which might repay a visit for anyone needing a Faure reduction. I used this for 'Sanctus' and 'In paradisum' and played the rest from Rutter.
I played this a couple of months ago from the Desmond Ratcliffe piano score (on the organ). Looking at the Pawel Jura edition, I don't think it's necessary for the organ to double the voice parts (e.g. bar 3), so I went with the semiquavers in the left hand and the quaver motifs (e.g. bar 5, top line) in the right hand. These could be done on separate manuals, although I didn't bother with that. During the crescendo somewhere around bar 35 the semiquavers swapped to the right hand iirc, and by having both hands together it was easier to add stops at will (I used about four general piston changes to achieve a smooth crescendo). Then at bar 42, chords in the right hand and the left hand on a solo stop (if available) - I didn't bother with any double pedalling, but had a 32' Bourdon out (this and the climax in the middle of the Agnus Dei were the two loudest points in the whole work, so I went for it a bit, without of course drowning out the singers!). At bar 50 I moved the right hand to Swell, using the quieter Great Trumpet for the solo motif, then keeping the semiquavers on the Swell to the end, swapping hands roughly as shown by Jura and playing the melody in bar 55 in the right hand as a solo on the Great with a string or flute stop (or combination). I wouldn't bother with the pedal fifth at the end either.
On the 'In Paradisum', I used a Sesquialtera for the right hand semiquavers, but to add clarity to the bass part I played crotchets in the left hand on the pedals with an 8' stop only.
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I also remember the great pride he took in his published last verse arrangement of 'Everton' in the RSCM volume from the 70s, and I recall seeing manuscripts of this that he had sent to John Dykes Bower for his approval and comment before submission to the RSCM. It's quite a complex, 'grinding' re-harmonisation which many congregations would fine off-putting, I can't help feeling. For the nonce, I thought Dykes-Bower's own submission on 'Nun Danket', and also Christopher Dearnley's 'Oriel' we both superb and all the better for being much simpler harmonically. Not sure if this volume is still in print, but if anyone ever has the chance to use the CHH Lloyd harmonisations of 'Laus Deo', they'll make your hair stand on end. The second of the two, written for "With his seraph train before him..." is magnificent but would need rehearsing with the (strong) choir or they would stop singing in wonder, I cannot help but feel.
Apologies for going off topic here, but I was on at St Marys, Nottingham tonight and we had 'Oriel' - seeing Martin's post earlier this afternoon made me delve for this book once again. The penultimate line caused quite a stir amongst the choir (some interesting chords!). I've not yet used the John Birch setting but the book itself is excellent so he certainly sits in great company (Helmsley and Llanfair from the set are two of my favourites).
I agree that it is wonderful to hear such anecdotes about some of the characters of the world of Cathedral music - I'm sure there are many more out there.
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I seem to have joined King's College Chapel on TV and Winchester Cathedral @ Mattins this morning by playing Vierne's Final from Symphonie I. Clearly a select club...
The choir sang the Alleluia from Mozart's Exsultate Jubilate, This Joyful Eastertide (arr. Wood) and Now the Green Blade riseth... so all fairly standard stuff... but very enjoyable all the same! We did the Thorne Mass of St. Thomas for the first time today: Rather than a voluntary before the service, we had a congregational practice! It seemed to go well in the service - despite the parrallel 7ths in the Gloria (S &T on "only son of the Father"). We remedied this with a quick rewrite of the tenor part to stay on the B. Overall, I think it's an effective setting.
I did the FInal from Guilmant 1 last Easter - just practice it slowly, under complete control (I recommend use of a metronome for this one) and it'll come quite quickly.
Interestingly, over a post-Evensong drink our vicar was singing the praises of the St Thomas Mass as helping to boost the festive atmosphere of this morning's service (it always seems to have a really good feel to it), because it emphasies points in the liturgy which can seem a bit feeble otherwise (e.g. the Great Amen at the end of the Eucharistic Prayer). And that little Soprano descant in the Agnus does get the tingles going. I've yet to find a congregational setting as effective, and our lot sing it very well.
Thanks for the tip on Guilmant...I'm probably not patient enough with my practising - I just want to get through to the big fanfares at the end!
Final from Vierne 1 was also on the BBC TV broadcast from Coventry in the morning (played rather more slowly than usual perhaps) - I've skimmed through bits of the service but I thought they were unwisely trying to push the pace of the hymns (some of which were odd choices - 'Kingsfold' is a bit sombre for Easter morning, 'Ode to Joy' rather naff, and 'See what a morning' not really an organ/choir hymn). I've yet to catch up with the Kings broadcast - might manage that tomorrow morning!
On Saturday night I travelled to Peterborough Cathedral for their Vigil, Baptism, Confirmation and First Mass. Music from combined boys and girls was absolutely excellent - good psalms to start, then Vierne 'Messe Solennelle' and Widor 'Surrexit a mortuis' and again the Final from Vierne 1 to finish, with lots of improv work to cover the various gaps. A really good worship experience.
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A very Happy Easter to one and all, including our generous hosts.
What did everyone give their congregations to send them on their way this morning?
Mine - the ubiquitous Widor (the first 8 bars were a bit dicey as my right hand went wandering in a way that it hasn't before - recovered after that!). Introit - This joyful Eastertide (arr. Ledger). Anthem - Glorious is thy name (Mozart). Mass of St Thomas as always. Pretty full church too - up from a normal 120-130 to around 200 - our church warden said he didn't know where they all came from! One year I'll crack the Final from Guilmant 1 - unfortunately not this year!
Tonight - Smith responses, Bairstow Psalm 114, Brewer in D and Blessed be the God and Father with Paraphrase on 'Judas Maccabeus' by Guilmant to send them on their way (unless I change my mind this afternoon).
Whatever you've done, I hope it felt suitably festive!
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Fully endorse the comments above - an excellent programme which I may well revisit on the Sky+. As said, interesting interviews, a great look behind the scenes with David Halls coming across rather well, and it showed choristers (boy and girl) with real enthusiasm and joy for their music. It was good that we heard some live music as well, of varying styles and eras.
I would heartily recommend it to all contributors.
Kings College Carols
in The Organ
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I'll stick up for 'Sir Christemas' here...its good fun and a good finisher - will raise some smiles I'm sure.
I'd tend to agree that this year's probably isn't the most inspiring selection - very populist, perhaps - but it is a very difficult job to choose things which balance well. We have a new 'Adam lay ybounden' as well as the Rutter and Vine pieces, but otherwise its all fairly standard stuff I guess.