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Bevington

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Everything posted by Bevington

  1. Good point, Patrick, and fair to say that the man who maintains the organ and will do the work on it has been Very Patient with changes of mind, suggested new designs and so on. You are probably aware of other non professional organists who like to fiddle for no good reason! There was some initial concern that this organ should have been left intact as a good example of a 1930s house organ. However by the time my brother-in-law had installed it in his house ten or more years ago, he had already made small alterations.... This time he wants it all done professionally and asked me what I would d
  2. Dulciana was orginally on the Great. The Swell is limited to 7 stops.
  3. My brother-in-law is renovating his house and has decided (after years of fiddling) to have his house organ rebuilt and completed. (No, he is not a professional musician but high up in medical circles). So sit back and relax, pour a drink and get out your pencil and paper. The following is an extract from correspondence between us about the current organ; his ideas; and my first proposal. The organ was originally built for a small mansion by a reputable builder. Suggestions welcome! . . . As suggested I have written below what we have and the future plan so we can work out what exists a
  4. Years ago I played some pieces by Boyvin, mentioned above, but have not seen my copy for ages - probably lost. So your mention of his name sparked some renewed interest. What do you make of this one though... http://www.loumy.org/B/Boyvin_Grand_Prelude.pdf
  5. Hello Sputnik, Another message has been sent, so hope this one gets through. Best, JOR
  6. Sorry, Mark, you did make it very clear that it is recordings of PHs compositions you are after. So a second try (and perhaps you are aware of these): 'Peter Hurford at St Albans' (ARGO 1975) includes him playing his own Suite "Laudate Dominum". I also have recordings that include the popular "Litany to the Holy Spirit" by various choirs, eg Ripon Cathedral c. 1980.
  7. Hi - I have two old ones but I imagine that you will already be aware of them: one is choral music by Maurice Greene with the St Albans Abbey Chor; and the other is organ music only, (St Albans) with Franck, Bossi etc.
  8. Unfortunately my internet connection disappeared not long after starting this post: there have been many interesting points of view provided by members since then. And of course to see things from the recording engineers' viewpoint is crucial. Close to the idea behind my initial concern over doing numerous takes and providing an audience with "one piece made of many" was a perhaps misinformed moral or ethical feeling about giving honest performances. It is interesting how old recordings can be caught in "time and place" whereas a modern CD perhaps avoids this. Years ago, like all tromba-happy
  9. My musically well informed organ tuner has been encouraging me to make a CD of our organ. (His father has been a church organist and produces CDs, so maybe some extra influence there!). I have looked into various aspects, time required, expenses and so on. But I am concerned about editing and 'takes'. A local choral society paid very large sums of money to have a number of 'unsuitable chords' digitally retuned for a recent CD. In a neighbouring church just a few years ago the parish organist was somewhat baffled when he acted as page turner for a leading concert organist; who amongst other t
  10. Forgot to mention: would there be any possibilty of obtaining a copy of the recordings?
  11. Thanks, Sputnik. I have sent you a personal message which elaborates a little more on Fergus.
  12. Aren't there also some 'organ only' editions by G S Holmes? Published by Paxton I recall.
  13. Myron Roberts' "Improvisation on God Rest You Merry Gentlemen" is also an interesting piece - and like the Edmundson it's from the St Cecilia / H W Gray stable. An interesting treatment of the tune, some variations and ending in a brief toccata like section
  14. First up, I have used responsorial psalms on and off for about 16 years, but I rate them low on my Christmas List (!) so I admit that I have not sought out a great variety of resources. However, at morning services we still have the opportunity to use Anglican Chant, (and sometimes plainsong in Lent), but have also used the ones at the back of NEH. I alternate now, using the now quite old Gelineau Gradual, alongside Mayhew's 'New Psalms for Common Worship' and its cohort 'Sunday Psalms - Musical Settings for Common Worship' . These include nearly all the psalms you need, but are perhaps a litt
  15. PS - sorry for the typos - I have wrecked some RH fingers!!
  16. Well said, Patrick. And Fiffaro makes an important, and sadly apposite, point about internet security: this is now how the world is. But in view of some of the less charitable postings I wonder what happend to "I disagree entirely with what you say - but defend your right to say it"? MM is loquacious and whimsical - that's his style, and it is unfathomable to see how it could case resentment. It's a bit like Dickens: skip the bits that you don't need to read. After all, he has only and simply said that he did not care for a certain performers interpatation. So what? Vive la difference!
  17. Does anyone play the M E Bossi Scherzo in F? (op 49, nr 1). I am interested in the notation about four pages from the end (just before the opening theme returns) where there is a single ascending line of notes in the treble clef. My copy has the final three or so bars ending with alternating b flat / g sharp, but this does not "sit well with my ears". It simply sounds odd . . . (I use a Bardon edition - it's the bottom of p 10). Any suggestions?
  18. Interesting. I make use of the Sunday by Sunday magazine as I am responsible for choosing hymns at my church, but find less and less of the CMQ of interest to me. In fact RSCM appears quite dead in my area, too. What have you found about them (RSCM) to annoy you?
  19. There is a lovely - and postively ancient - recording of the Jackson Fugue played as a postlude at Kings by ... by... um, forgotten, but it's an old mono record. Can't lay my hands on it at the moment. Is the expat Healey Willan allowed? His Intro Passacaglia and Fugue in Eb minor is monumental and in 'British' style, although far more demanding than the sleek and evocative Alcock with its passacaglia theme reputedly by Dupre, so I am led to believe. W Lloyd Webber also wrote a fine and demanding Suite but perhaps in terms of appeal and depth not quite 'right up there ' with the greats.
  20. Thanks for the corrections, Peter. What do you make of bar 49 (Crescendo edition, so should be page 7, top system second bar). Going along with usual practice the Ds in the RH would of course be 'natural' despite the D# in previous bar and in the LH. My copy has D naturals, but I am not convinced . . .
  21. Well I think it's simply appalling! And yes, I know that organs take up space, never have enough of what you want, or too much of what you don't, need to fit changing requirements, or have been badly made and need fixing, and are so very expensive. When I took on my current position the organ had recently been fully restored - but for various reasons the fund raising had come to a complete standstill . . . and no-one told me about the approx 200,000 pounds still owing and the increasing interest that was not being paid until I innocently asked about the appeal one day. (All paid now!). It's a
  22. I am not sure how "in depth" you need to be for your new organist interview, but for what it's worth the following is taken from my own experiences. Obviously keeping the congregation 'on side' is of utmost importance, for the future support of music, so someone who leads hymns well - rhythmically, accurately, musically - is a top priority. It is sometimes a good idea to have a sensible member of the congregation at an interview - just to ensure that the new person is aware of the congregations support and desire for good music to continue, and at a high standard. If you have an assistant orga
  23. The problem with what JOR calls 'tuneful, worthy music' is that it further alienates the organ from mainstream (art-) music making. Concert pianists or violinists don't tend to play 'tuneful, worthy' music. Have I misunderstood you? Or isn't this the problem: who are we trying to attract to organ concerts? Yes, many of us will not get much of a kick out of 'tuneful worthy music' but I would far rather see of a church full of 'man in the street' type audience listening enthusiastically, than five shivering organists and two professors of music banging on about how I did the ornament in bar
  24. I think that local culture, time and place (speaking literally and culturally) do indeed affect a number of factors relating to certain types of concerts. Sometimes it is part of the history of a town, perhaps the style of music that is prevalent whether it is pubs that have popular weekly rock bands, jazz bands or perhaps a community of people who happen to have a lot of string players around and have small ensembles who like to give concerts. I could expand on this but there is not space and it's a bit off topic. But above all I firmly believe that the way concerts are promoted and presented
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