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Everything posted by Bevington

  1. I agree - years ago I sat in the nave of a church enjoying listening to my assistant play the piece, and fell into a state of shock when the imposing final minor chord was altered to a major chord, thus causing choir men to gently lead me to an estblishment a moments walk away from the church where they revived and restored my equilibrium witnh "medicinal" beverages . . . Seriuosly though, I think the harmony of the penultimate and the anti-penultimate chords do not lend themselves to a Tde P ending: in short, it sounds 'wrong'. However, in other sonatas Rheinberger frequently does end minor
  2. My initial response is Be Careful! I have been through this type of problem - pain is NOT gain. The school where I teach (now part time) has laptop computers for every staff member: we are expected to use them for every part of our work and routine - a nightmare for digitally directed musicians! Within six weeks of using a laptop for everything - roll marking, lesson plans, school notices, etc (and at this time I was teaching full time) my playing was badly affected, requiring visits to an excellent physiotherapist. Since then (encouraged by the physio, an occasional church attender)I have rea
  3. Bevington


    For what it's worth here is what we do at Pentecost, but I admit that I see your point and perhaps feel your frustration. First of all, we had Ascension Day 'transferred' to last Sunday (as do so many churches now) and our Feast of Title is Trinity Sunday so that is a 'big' day for us too. Additionally, our Ascension Day service was suitably festive, particularly with Evensong's rousing anthem and Stainer (no, not Stanford, Stainer!) in B flat to lift the roof. For Pentecost, I did not actually feel the need to be 'festive' with last Sundays offerings and next Sundays requirements. I also choo
  4. Thank you "all and some" for your interesting comments. The anchor points idea is applicable to so much repertoire, and in terms of the Vierne, defining the anchor points and 'spots for the thumb' gives a necessary and firmer sense of "grip". Fiffaro's point about bits of the Vierne simply shifting up or down tie in with my earlier comment about it being a logical piece, despite its complexities. The Handel gets its concert airing this weekend and has benefited from the suggestions by MM (so thank you, that man!). An amusing anecdote to finish with (and a disclaimer so as not to offend anyone
  5. Thanks, Peter - that is indeed the man. Not easy to find out much more. Given his date of birth I can't imagine many will recall or know of him.
  6. This enquiry goes back some time, and the name Fergus O'Connor is perhaps familiar to mature aged organists! My elderly father - also an organist - was a chorister at Queens College Oxford under (L) Fergus O'Connor, a man of considerable skill, and who apparently turned the standard of the chapel choir from unspeakable to one of broadcast quality. He was also my fathers first organ teacher. Later I am led to believe that he was probably Organist/Choirmaster at All Saints Kingston in the 1950s after which there seems to be no further record of him. He was very encouraging to young musicians, wh
  7. Now that's an interesting idea . . . insert a Stanley voluntary, or part thereof, for a cadenza. Probably more secure than risking an off-the-cuff-job. However, when I practise the Handel and reach the cadenza point, I recall an old LP recording of the late Jeanne Demessieux, who improvised Handel cadenzas that would have had the purists spinning in their graves - full symphonic French style. Very exciting! As for other manuals only composers of similar style, I am fortunate enough to have an 1845 single manual Bevingington mere metres from the Willis so the likes of Stanley, Bennet, Hook an
  8. Yes, it is the F major no 4. And I am practising it on a firm Kawai piano, and an electro-pneumatic Willis, whilst the organ for the concert is a worn out tracker that was poorly restored in the 1970s. What fun! I think your comment about "naked music" and having anchor points hits the nail on the head - it does feel exposed and somehow the Vierne, whilst technically demanding, seems to give more to comfort and hang onto. I tried your suggestion of lower hand position/claw like finger curve etc - assuming I did what you suggested correctly, it certainly gave a new approach. Like so many I sup
  9. Oh how I wish I found the Vierne B flat minor Toccata easy! However, as I work through it, I have discovered how logical and 'patterned' most of it is - a bit like having a set of strange building blocks whose main challenge is to have them welded smoothly together. When I began learning it, a friend who has played it for years confirmed that keeping the thumb on white keys is important for giving your hand/s some 'grip' on the keys and around the notes and maintaining a useful hand position. But there are some bars . . . . My own (now deceased) teacher had smallish hands (smaller than mine)
  10. Thanks, Peter. One point did occur to me - the Handel copy has of course the extensive fingering inserted by Dupre, which I am using, having decided that it suited me and would save time. The Vierne however has nothing in the way of fingering suggestions, and had to be worked out from scratch, requiring careful planning and revision along the way. I wonder if using someone elses fingering actually slows down the note learning slightly . . . because you are using something that you have not had to think about or decide on for yourself. Both works require clean, precise, accurate (!!) playing
  11. I wonder if anyone can shed some light on a peculiar mental glitch that happens when learning certain styles of repertoire - I don't think I am alone in experiencing this. Currently I am a learning a number of new pieces for general repertoire, postludes, concerts etc. Soon I am also playing a concert at a small church in a small town on a two manual organ of 14 stops. For this concert I decided to learn - as it requires user friendly music - a Handel organ concerto. This is the first Handel concerto I have ever learnt. So I have chosen the Concerto in F from Bk 1 of the Bornemanne / Dupre se
  12. Reminds me of the organist who decided to clean the comsole during a sermon - somehow managed to touch the 'full swell' piston while dusting the swell keyboard from top to bottom, glissando style!
  13. Bevington

    Organist on PCC

    For what it's worth, my contract states that I am entitled to attend four parish council meetings per year or at other times where issues may require my presence or input. However, some years ago, I was once encouraged to stand for a parish council election. But it was the vicar who almost immediately discouraged me - but with what seemed a good reason. He believed I had more 'power' (!) by not being on parish council. His reasoning was that if a musical issue arose and parish council went against what I wanted, or believed was a good outcome for the music, then as a member of parish council I
  14. Thanks for the link - I have also ordered it.
  15. Like John Sayer, we too have had awkward moments with HTFD - this despite marked up copies and multiple hymnbooks. The congregation have had their own word sheet with just the appropriate Easter verses to make it clearer for them, (and there are different versions here and there of the text). I regret to say one Easter Day I suddenly could not recall which of the verse tunes I had just played (no wonder perhaps, having had services and rehearsals from 6am) and of course the words to each tune more or less fit the other. Embarrassing. The next year I decided that my young assistant should play
  16. I am tempted by having all that in one volume, even though it will give me a couple of double copies, in addition to new music . . but I must be doing something wrong: I cannot locate it on the Musicroom site. VA, can you please tell me the exact title?
  17. . . . and furthermore, the Larghetto was originally a Novello (ed Chambers) edition - mine is of the time that has the old pinkish cover with the St Cecilia window down the LH side; the Andante in E minor (which I now see is indeed S S Wesley) is in the Tallis to Wesley series, and there is also an Andante in G which I recall is less interesting than the E minor one. Also, my father once had an LP on which I am sure Simon Lindley had recorded an S S Wesley Introduction and Fugue in C# minor - but I have never seen nor heard of the piece since.
  18. I am writing this from school (!) so can't check my cupboard for exact names: there is a charming Larghetto and Variations in F# minor, and (unless I am confused with S Wesley) an Andante in E minor. Both with independent pedal parts, worth learning and with one or two intricacies to keep you concentrating.
  19. Isn't it amazing what Stanley Vann and Barry Rose did for Stainer's Crucifixion and also Rose for Olivet to Calvary? I had never heard 'Olivet' until I bought a record of it on a whim years ago. Yes, there is a lot of 'Olivet' that perhaps should not have been written, but when I eventually chanced upon a score of the Maunder it was a lesson in what a top choirtmaster can do with second rate music. Having said that, I agree that the Rose recording of Olivet has some stunning emotional moments as does his Stainer. There is a church two hours from where I live that does the Stainer every Good Fr
  20. NPOR lists a three manual at St Patrick Soho Square, with a grade two Historic Organ certificate - or did I mis-read something?
  21. Dr Stanley Vann - another extraordinary musician / cathedral organist - turns 100 on Feb 15th.
  22. Thanks for the link - some interesting comments. I have played the Sicilienne and the Fanfare and March, but await arrival of ordered copies of Symph Two and the Grand Choeur. The finale from Symph 1 gets its first airing on Sunday. I have been using my father's nearly 60 year old copy - don't think he ever played it, as it is in "as new" condition . . . or was, until I started learning the music. With all the recent practise it has become fragile and suddenly started falling to bits at the spine, which is a bit embarrassing after surviving so long. However, it really is worth the effort to le
  23. I agree Malcolm - I am not familiar with any previous posts on the subject of Weitz, but there is no doubt that his music needs someone to promote it anew. Checking on musicroom I found a good representation of his major works available, so there is every opportunity! Certainly requires some diligent practise, but it's well worth the effort and in terms of musical quality, most of it is up there with the best.
  24. Thank you very much Oscar - I sent an enquiry via Paul Derrett's email and received a prompt and detailed reply today. Best wishes JOR
  25. Does anyone play the final movement of this symphony - the toccata style movement on 'Stella Maris'? I wondered whether other organists might have an opinion to offer on a possible ambivalence right at the end. I have my fathers copy (dated 'London 1950') which is one of those large sized Chester editions. On page 36, the fourth bar from the end has some possible anomalies, where both hands are set high up the keyboard. During the second beat, the RH has an E flat accidental as does the LH at the same time. On the third and fourth beats the chords contain E but they could be either E natural o
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