Jump to content
Mander Organ Builders Forum


  • Posts

  • Joined

  • Last visited

Profile Information

  • Gender

Recent Profile Visitors

1,968 profile views

Bevington's Achievements


Newbie (1/3)



  1. Thank you for solving the mystery. Yes that's it - it's Greenhill. As soon as I read the composer's name, I dimly recalled seeing a copy of the music at an organ lesson, (decades ago, and decades after the recording). Certainly worth seeking out and playing today.
  2. It is indeed a beautiful piece, and it was typical of my teacher to discover little gems that no-one else seemed to play. Additionally, he liked to make his own arrangements of pieces. His repertoire interest was broad - just as happy to play a little Handel Minuet he had arranged, as he was to perform Messiaen and everything inbetween. The short theme sounds so familiar.
  3. I wonder if anyone recognizes the music heard on the link below, (which I hope connects). It was recorded by by my former teacher, the late Lindsay O'Neill FRCO, on a Brindley and Foster organ, at that time a large two manual. Lindsay O'Neill was a very fine improviser, and at one time studied with Harold Darke, although the music sounds perhaps more like Whitlock? A few years after the recording, the organ was enlarged by Walkers, (and includes a 32 reed and tuba). Sadly, it is now rarely used, due to the church moving to contemporary styles of worship and music. Any suggestions would be appreciated. Thank you. https://youtu.be/nKzg_vB6Q38
  4. Thank you, Tony - I'll follow up your suggestions and see how things work out .
  5. 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.
  6. 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.
  7. 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!)
  8. I have a PDF copy and happy to send, but not sure how to attach it to this reply.
  9. 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, romantic side to me - my own now deceased teacher learned from Harold Darke, and others of his style, and at one stage I was quite accustomed to hear my teacher play old fashioned romantic 'big Bach' - swell boxes and all. We all knew that that this was "naughty Bach" but under the hands of a fine player I must admit it was fun to hear. A little time ago I was driving to work and had a sudden run of freely moving traffic in the peak hour crawl. I was listening to my then newly acquired CD release of the 1960s Great Cathedral Organ series and on came Statham playing the Stanley /Coleman arrangement, at Norwich. What can I say? Perhaps it was the combination of the rare burst of speed in morning traffic, or the mood I was in, or the volume, but I had the urge to learn to play that arrangement....and still do! I have the manual only version and used that recently at an evening service, but the big version beckons still. (And yes, I do turn up the bass when I listen to organ music in the car!).
  10. 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.
  11. 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...
  12. 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 who is boss sometimes. Perhaps it is more a question of a neat articulated legato rather than straight staccato just to give the piece an initial kick start and to help it move into action. I think slurring the quavers rather ineffective.
  13. 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.
  14. 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 time ago I listened to a fine recitalist play an entire Widor symphony and at times the musical material didnt engage interest and seemed endless - being a Sunday afternoon, the sleepy looks on faces of the largish audience also suggested an induced corporate somnambulance! Having said that, there are definitely some beautiful moments in each symphony. (Didnt someone once say that Wagner had fine moments and long half hours?!).The 4th has a charming quiet movement, and the 2nd an engaging and 'reverent' quiet movement one as well as a cheerful finale. Despite it's 'ubiqutous' toccata the 5th has fine movements (although the jaunty pedal solo that starts one of them always makes me think we are about to hear a slow 50s rock song...) I think the 5th and 6th are probably the most homogenous as a whole - perhaps Widor reached his peak halfway through the ten symphonies?
  15. 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.
  • Create New...