Florian
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Posts posted by Florian
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Do the Dover editions stay open on the music desk easily and how robust is the binding?
ATTENTION: The two Dover volumes doesn't contain the definite versions of the symphonies and are only of interest for someone who would likes to study the earlier versions of some movements.
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I get the impression that many "Manderins" (!) on this forum have written music for church and so on, and thought it would be interesting to hear about it.
I'll kick off by saying that I've just finished a setting of the Reproaches for Good Friday (in Latin - polyphony alternating with plainsong-type music) and am working on a setting of the Adoremus te Christe for the same service. I often set the psalm to music usually with a 4 part response (announced first by cantor) and single voice verses though sometimes I do a 4 part verse setting.
I have also written a little bit of organ music including A Birthday Toccata which I wrote as a birthday gift for my partner Jane a few years ago and am now going to introduce it to a wider audience in a recital. I also have an Easter Fanfare which is quite bluesy. But let's hear what others have been up to...
Best as ever
Peter
I once have written a Toccata for Christmas, 'Toccata pour le jour de noel'. It is in Sonata form with the gregorian Christmas Alleluia as first theme and a german carol as second theme. After the development section both themes are combined in the recapitulation. As you can see by the french title, the piece owes much to my predilection for the french symphonic style.
The first (and so far only) performance was played by myself on a huge Steinmeyer organ during a Christmas service.
At the end I was happier about my playing than about the composition, because I came through the piece without any breakdown
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Those who play this, with a copy reasonably handy:
Bar 40 ends with an A in the soprano, bar 41 starts with one -
surely these should be tied together?
Opinions please?
Actually, you mean bars 39 and 40, don't you?
I have the Urtext-edition (Breitkopf) which has no tie at the point in question. I prefer it untied because it emphasizes the harmonic change between the two bars.
But perhaps this is an error in the manuscript which found its way into the complete edition.
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At the risk of making a fool of myself, the vulgate is indeed Tu es Petrus et super hanc petram..., in other words "Thou art Peter and upon this rock..."
Question is: what was Jesus doing punning in Latin?
Perhaps he was as good in Latin than I was...
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Actually, I've never understood why it is Petra and not Petrus. Is it not the Tu es Petrus verse he is paraphrasing?
"Tu es Petrus, et super hanc petram aedificabo ecclesiam meam. Et portae inferi non praevalebunt ad versus eam: et tibi dabo claves regni caelorum."
'Petra' is the latin word for 'rock', and therefor the original text reads 'Tu es petra, et super...' etc.
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I recently bought a CD of Herbert Tachezi playing Bach on the Silbermann organ of the Dresden Hofkirche.
It was a rather uninspiring recording of the Bach greatest hits (T&F in Dm, T,A&F in C, Passacaglia etc.), but I'm assuming it was recorded before the most recent restoration.
What is the state of this organ nowadays, and how does it compare to the examples in Freiburg etc.?
JG
During the last renovation (2001/2002) the major task was to restore the old pitch (415 Hz, well-tempered) and to reconstruct the wind supply (manual or electric at choice).
Works were carried out by the two companies, Jehmlich and Wegescheider. Pictures and technical informations are available at the Jehmlich homepage, where also informations about the Freiberg organs can be found (note that Freiberg and Freiburg are two different towns!).
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I was initially skeptical of the tempo of the Mulet 'Tu es Petrus' but it is now my benchmark recording.
By the way: the name of the piece is 'Tu es Petra'
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It's a pity recordings of this organ are so hard to come by. Are there any particular recommendations?
JG
The problem is that the church is open to the public day and night, so there aren't any quiet hours to make good recordings at really professionel conditions.
Besides the recording mentioned above there are some further recordings by Hakim (Priory), and I can warmly recommend the all-improvisation-disc by the former titulaire, Daniel Roth (Motette), which is an absolutely stunning demonstration of these exceptional instrument (MOT 10751: "Le grand orgue Cavaillé-Coll du Sacre Coeur a Paris").
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Not trying to undermine Headcase's kind offer, of course, but I feel moved to point out that Vierne's entire oeuvre comes out of copyright this year - he died in 1937. Therefore, provided that the score you copy has been in print for more than twenty-five years, you can simply take anything you want to the machine without either shame or fear of prosecution.
That's right! A lot of compositions are already available in cheap reprints (Kalmus/Mastermusic, Dover, bnote), and the rest will certainly follow soon.
By the way: the German publisher CARUS starts a new critical edition of Vierne's complete organ works in 13 volumes, edited by David Sanger. I suppose this edition will include all the corrections which are listed in Rollin Smith's famous study about Vierne.
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Hi
No but I recently got the Gillian Weir version. However I seem to remember reading somewhere that a video recording was made of her playing the Livre and I wonder if anyone else has any info on this?
Peter
Gillian Weir is on the quicker side, as it is Olivier Latry. I have to confess that I prefer the Livre in these rather flowing performances - the cycle is long enough
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Do you know Jennifer Bate's recording of this composition? I wonder if she played it at Westminster Cathedral also with this incredibly slow tempos...
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Can you recommend Dame Gillian Weir's complete recording of Messiaen's organ works (Priory) to somebody who already owns the Latry and Bate sets? How does the Aarhus organ sound in this repertory? I have to confess that I was rather dissapointed by the Bate set because of the slightly "shrill" sound of the Beauvais instrument which is in my opinion a little bit too neoclassic (this seems not to be a fault of the specification, but of the intonation of this instrument).
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There is another recording, made by Roger Fisher at Chester Cathedral for the German Motette-Label ('Roger Fisher plays Edward Elgar'). He plays both Sonatas, the Voluntaries and Lemare's Pomp & Circumstance-Transcription.
Does anybody know this recording?
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Years ago I had to replace a collegue of mine during a Christmas service. This organist was known for his somewhat "conservative" style: he played always the ordinary stuff and very boring improvisations, and most of all he was known that he played each year the same pieces (and improvisations?
). So I decided to play at the end of the service Lefébure-Wély's famous Sortie in E flat major. The congregation was completely amazed and rested in the stalls until the end (very unusual in German roman catholic churches...). -
Canterbury seems to be one of our lesser-documented instruments (the last time I asked, they still did not have a booklet about the organ).
During a stay at Canterbury this summer I bought at the Cathedral Shop a very infomative booklet which contains the specifications of all previous instruments.
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I don't know the Bleicher set, but I have to tell you that it received quite bad reviews in German and French organ forums.
Perhaps it is worth noting that there is a single CD on the Naxos label, played by Robert Delcamp (included in the label's "Organ Encyclopaedia"-series). Following their example of Dupré, Reger and other composers, it becomes perhaps a complete recording.
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Did you try to get some informations from the french 'Association des Amis de l'art de Marcel Dupré' (=Association of the Friends of the Art of M.D.)? You can find them on the internet at www.marceldupre.com (but don't expect too much: last update 19/04/2005
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Did Rheinbeger write for an organ without a Swell box?
Yes! Here is the specification of an instrument projected by Rheinberger:
1st manual: Bourdon 16, Principal 8, Tibia 8, Gamba 8, Gedackt 8, Quinte 5 2/3, Octav 4, Gemshorn 4, Oktav 2, Mixtur 2 2/3, Trompete 8
2nd manual: Salicional 16, Principalfloete 8, Aeoline 8, Lieblich Gedackt 8, Fugara 4, Floete trav. 4, Flageolett 2, Cornett V, Fagott-Clarinette 8
3rd manual: Geigenprincipal 8, Wienerfloete 8, Dolce 8, Viola 4, Flautino 2
Pedal: Principalbass 16, Violon 16, Subbass 16, Quinte 10 2/3, Octavbass 8, Violoncello 8, Floetenbass 4, Posaune 16
no explicite mention of a swell box, no high mutations, no céleste ranks!
I played a lot of Rheinberger and can recommend you the Sonatas 3, 4, 8, 11, 19 to start with. No. 4 is very easy to play and is very good music throughout. Nr. 8 is perhaps Rheinbergers most perfect Sonata, but the final Passacaglia has some technical difficulties to tackle (the penultimate page ist really awsome to play). Nr. 11 suffers from a very weak Scherzo, but it has a georgeous Fugue as final movement (but you cannot ommit the Scherzo because the Scherzo-theme becomes one of the Fugue interludes...). Nr. 3 has the best fugue ever written by Rheinberger. It is vigorous and virtouso music which never fails to make a great impact on the audience.
BUT: Rheinberger didn't write only Sonatas. He composed a lot of "Charakterstuecke" (comparable in size to those of Reger). These collections contain some very nice music to discover. The "Vision" from op. 156 is particularly fine and can be played (like all of these pieces) even on a small organ.
Florian
Regent 'the English Cathedral Series'
in The Organ
Posted
Which are in your opinion the most interesting volumes?