martinstanley

I suspect from the position of the conductor, below and infront of the orchestra canopy, the balance was ok. With the winding problem being rectified in the last rebuild this is a very powerful beast (not sure I would call it a musical instrument at full tilt) and needs using with care.

It is good to get another opinion. In some ways I am relieved at knowing that you found the balance perfect elsewhere in the hall and agree it was a stunning performance despite my concerns. The Ascension at the end was particularly moving and one time the organ did not dominate. I will watch where I book in future (all lower seats were sold when we booked). I disagree with an earlier post and think the RAH is an excellent venue for big choral works despite being blasted by reeds and mixtures if you sit in the Circle!

I think you are confusing this with the first performance of Gerontius. Both Michael Kennedy and Gerald Northrop Moore indicate the first performance of The Aposles was a success.

Was anyone else on the Board at this performance on Saturday? It was superbly done by City of Birmingham Symphony Orchestra and Chorus but for me spoilt by an ill balanced use of the organ, particularly at the climaxes. I am therefore interested if anyone else had the same experience, and if they were seated lower down the hall whether the balance was better. I have since tried to listen on the BBC Listen Again facility but it is very congested and the quality is just not good enough to form an opinion. We were sat in the Circle half way round at 45 degrees to the platform in block R where you are at the same level as much of the pipe work but some distance away. At the big climaxes, particularly the big one early on at figure 35, the sound of the orchestra and chorus completely disappeared under full pedal, and heavy reeds etc. This happened again on several other occasions (including one point the other forces were being accompanied by what I think was a rough pedal reed still out) and rather spoilt the performance, although the balance was better in the second half. I did wonder if registration adjustments had been made in the interval. I also wondered if the balance was better in the lower regions of the hall where some of the volume from the organ may be masked by the orchestra canopy. This is not the first time I have experienced this effect with organ and orchestra at the RAH. I wonder what guidance is given to visiting organists (in the same way it is at St. Paul’s) who will have little rehearsal time with the other forces involved. On this occasion the organist ought to have had a minder in the Circle at the rehearsal to warn him of the effect he was creatin, but can only assume in the floor of the hall the balance was ok. To me it was a case of having all this power but using more than was required by the music. The first performance was in Birmingham Town Hall and I am sure the organ there at the time (wasn’t it reckoned to be underpowered for use with chorus and orchestra so a Bombarde division was added at the last rebuild?) would not have caused such a devastating and unmusical effect.

Regretfully the annual music festival, Musica Deo Sacra, due to be held in Tewkesbury Abbey next week has been cancelled. This is not surprising as many of the performers stay with families in the town and I know from friends that there is little running water at present and much of the town is a mess. Preparations for the The Three Choirs Festival in Gloucester (4-12 August) are in progress and it is planned that the festival will take place. http://www.3choirs.org/gloucester2007/highlights_news.php

I attended a service at Central Hall Westminster in the 60's. I don't remember the effect of the organ but my abiding memory was of the percussive effect of 300+ tip-up seats during the playover of each hymn!

Music Maker - An appreciation of the life and work of Clifford Harker - Margaret Hilton Verona House Publications 382 Church Road, Frampton Cotterell, Bristol, BS36 2AB or through Amazon - key in ISBN 0 952 5015 2 X in the book search facility An affectionate account of this wonderful musician's work at Bristol Cathderal and three choral societies in Bristol and Bath, plus music making in the Middle East during WWII.

It was made in 1978. I remember Clifford Harker used to refer to it as 'that dreadful film' but was amused that he received a fee of £90 for his small part in it. According to his biography, Music Maker (Margaret Hilton), the Dean and Chapter despite being paid by the film company were not best pleased that cassocks which had been loaned were returned in a poor state.

An article in the June edition of Gramophone about the £91m renovation of the hall states "The organ is undergoing restoration to its own timetable. Of its 7700 pipes, a core of 2500 (sufficient for orchestral music) will be in place for the re-opening, the remainder to follow by 2011". Has this late date for completion been mentioned before? Presumably it is a funding issue as I read somewhere else (now lost) that there already is a shortfall in the existing spend on renovation of the hall.

Paul, your bootleg copy will be of an LP produced by Michael Smythe on Vista VPS 1059 at The Temple Church (Tracks 1-5), Town Hall Birmingham (Tracks 6-9) and All Soul's Langham Place (Tracks 12-15). The sleeve note states the recordings were made between 1974 and 1978 which would make him 78-82! It also states that items were recorded without breaks avoiding splicing and editing. I have the recording which I have recently digitized on my new USB turntable (crackes suggets it was well used in my youth!). This equipment has revealed some great LP's I purchased in the past and long languished in my loft. I htought I had an LP of GTB playing the Reubke but it has not yet surfaced. In my limited experience of turning pages for GTB at several recitals in Bristol (Cathedral, Colston Hall, Lord Mayor's Chapel) in mid/late 60's he spent a good deal of time preparing for each of them. Your story about preparation may have come from the fact he went by train early every Wednesday morning from London to Birmingham to give a weekly midday recital, although he once told me that he always tried to play someting new to him or the series in each recital. He was always great company and full of anecdotes. I remember he gave a blistering performance on the new organ at Coventry Cathedral shortly after it was built, and a friend (now sadly departed) frequently recounted how GTB knocked spots off the other performers at a composite recital at the RFH in 1954 with a virtuoso performance of the Reubke making it sound a very different instrument.

Has anyone seen the article in Time Out (January 17) about the RFH organ restoration? Quote from article "Reinstallation of the first phase - some 2500 pipes - started at the end of October; the Swell organ, great organ fluework, and the pedal are now back in place." It goes on to state that dust is a problem and looking at the picture one could only agree with the caption under it that dust is "quite a challenge" because it would appear that other work is stilll in progress on the concert platform. I don't currently have the technology to place a scan of the article for access but those who would like it can email me at martinstanley@clara.co.uk and I will do my best to send it.

For my first (and possibly last) post on this forum I have some observations to pass on having attended Evensong at Worcester last Tuesday (Bairstow in D and Grier – God who made the earth and sky). The service was conducted by Christopher Allsop and accompanied by an organ scholar on a digital instrument (Rogers?). There was no sign of Adrian Lucas but perhaps it was his day off so please do not start any fresh speculation! The console and organ cases in the choir have been completely removed providing some interesting views of the area not seen for many years. Scaffolding is across the roof of the choir at triforium level, presumably preparing for the future. A display board included pictures of the old organ cases located in the choir confirmed my memory that they were rather squat and ugly. The display also showed the console was to be located on the opposite (South) side of the choir. I was not impressed with sound produced by the digital, which to my ears was gloopy and unpleasant (aural equivalent of cold grey custard!), although in fairness I was sitting in the east end of the choir directly underneath the speakers which were at triforium level and the mix may have been better further down the choir. From this position in the east end of the choir it made one realise how long and narrow the building is making sound projection from the choir a challenge. Without wishing to open up this discussion again I should add I have never been a great fan of this many times rebuilt instrument, but decisions have been taken and we can now look forward to an exciting development of a new cathedral organ built by a British organ builder. Martin Stanley Stratford-upon-Avon