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About Bevington

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  1. Thank you, Tony - I'll follow up your suggestions and see how things work out .
  2. Thank you. Yes, it is Clifford Harker's arrangement, and there again I can find nothing to illuminate the issue of how one gets permission to use it. I am perplexed as to why Novello disown it (I have my late fathers 1937 edition - one of those ones with a pink/grey cover and St Cecilia window) when they must somewhere have some idea.
  3. I wonder if anyone is familiar with this work? I am trying to find out who owns the copyright, as it has just been recorded on an (unaltered) 1877 Willis organ for a forthcoming CD . Novello give the puzzling response that "it is not one of ours" (despite "Novello" clearly printed on the copy), but are unable to offer any further information. Any ideas appreciated.
  4. The title certainly appears when entered as a Google search - Sheet Music plus for example claims to sell it. It is also available in some libraries. I'm not sure how legal it is to scan and send a copy but that may be an answer. (My own copy is scrawled with markings - my teacher learned from Darke but I lay no claim to having inside info on how to register the music!)
  5. I have a PDF copy and happy to send, but not sure how to attach it to this reply.
  6. A fair question, Tony, which I can only answer on quite unacademic grounds! For many years I had the pleasure of being organist at a church with two organs - one a moderate sized romantic 3 manual; the other a fine little single manual 1845 Bevington. This splendid little instrument was sited so that its sound filled the building, often fooling people into thinking that the larger organ was being used. And yes, I happily played Tomkins, Gibbons, Locke, Purcell, Blow, Stanley, and so many others, on the Bevington - and as they were written, not in arrangements. But there is a warm, fuzzy, roma
  7. I wonder, please, if anyone is able to let me know where I may obtain a copy of the Coleman arrangement of Stanley's Voluntary in A minor, op 6 nr 2. Condition not important so long as it is legible! Some of the usual secondhand organ music sites don't appear to list it.
  8. David Patrick / Fitzjohn Music publishes Sonata nr 1 in G major - which is a fine sonata with a very attractive second movement. The others are out of print. Some years ago John Kitchen recorded the Sonata in Ab and if you were able to contact him (in Eddinburgh I recall) he may well be able to put you in the right direction. I have access to both so perhaps...
  9. This is not definitive and possibly not helpful: I have a facsimile copy of the original and the first two quavers are unmarked. However, somewhere I have a quite old recording (LP, not CD!) and the initial quavers are 'detached' rather than a real staccato. I played the Smart recently as a postlude and at a concert and find that I play those quavers - and subsequent repetitions of the pattern - with a mild detached touch aiming to focus an accent on the first beat of the ensuing bar(s). It may of course depend where you play - I have a large sluggish 3 manual instrument that needs to be told
  10. Now cverey please don’t take offence. Noting that you are listed as ‘newbie’ I’m puzzled as to your reason for joining the discussion board? There is very frank, intelligent, and well-considered exchange of ideas here from people who have a genuine concern for how the organ is perceived in the wider world and its real future - both sacred and secular. Unfortunately some opinions are incorrect. This doesn’t mean that you should not pose them to encourage interesting and stimulating discussion. No-one is ‘twisting’ your equally valid point of view, based on real experiences.
  11. Having moved house twice in 5 months I have not even found my Widor copies/CDs yet! But I wonder if one issue for the neglect of Widor movements is that the end doesn't justify the means - like Rheinberger, many Widor movement are more rewarding to hear rather than to learn and play. There are plenty of movements from Rheinberger sonatas that I enjoy separately, or as two contrasting movements, but I would only play a small handful of Rheinberger sonatas all through. Similarily I find some Widor symphonies / movements don't arouse enough interest to make it worth the time to learn. A little ti
  12. Thanks - it's good for those of us on the other side of the console to see what a high level of care and skill go towards producng the sounds we make.
  13. Good morning Sputnik: apologies for the delay in replying as I have had all manner of problems recently with email, and moving house into the bargain. I will reply again very soon with further information.
  14. Haven't played the Brewer for years, but having recently re-organised my organ music shelf it is easily to hand. I have spent much time with similar patterns in the first movement of Harwoods Sonata in C#. In my Brewer, however, I notice that last time I played it I obviously altered the fingering from years ago, as there is evidence of more youthful - and possibly more contrived fingering - being erased. I notice that I have marked my copy to allow a tiny 'lift' before some of the big chords that follow the six note groups of semiquavers. I guess that I did this to let me 'place' my hands
  15. I agree - I think the Emery editions are mostly sensible, certainly from a musical point of view - and yes, a health warning is often needed. (Although Kevin Bowyer once put out a CD of 'Edwardian Bach' which was rather fun, but would have sent the Baroque boys hissing into their sifflotes!). Listening again to the Koopman version of the F and F, I was struck by the intense rhythmic propulsion of his performance. Following it straight away with the performance by Karosi (mentioned by MM), I found the young Karosi's performance to be far less brilliant than when I first listened. In fact it se
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