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peter ellis

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Posts posted by peter ellis

  1. Hi all

     

    The Parish church in my home village of West Vale (just outside Halifax) closed in 1982. I was 6 at the time and the kind old organist of the church let me have a go on the instrument the week it closed. I recall it being very large but then again I was 6.

     

    All I know of the instrument is that it was dismantled and I believe some of the pipework reused. I have no idea of the builder.

     

    I'm in Australia now so I don't have as much access to historical records as I would like. I was wondering if anyone out there has by any slim chance a specification for the instrument or any information/pictures.

     

    Thanks

     

    Peter

  2. For me movability is the biggest issue. You need to be able to fix them in position in more than one way for choral work, but be able to move them away without too much issue. Lockable wheels works.

     

    I quite enjoy having the back row a little higher - it seems to work better musically too.

  3. Hi all

     

    I can't believe it's eighteen months since I posted anything.

     

    As I'm stuck in Australia and I can't access certain content on BBC iplayer I missed the BBC live broadcast for Pentecost Sunday from Halifax Minster. Did anyone watch and how did that beautiful organ sound? More importantly did anyone do a sneaky record they're planning to stick on you tube?

     

    I also believe the BBC killed two birds with one stone and recorded several Songs of Praise episodes whilst there. Hopefully we'll get that by 2015!

     

    Again I can't believe it's been so long since I posted. Hopefully soon I'll have some pictures of the exciting new organ going into my home church of St. Luke's, Mosman. I will soon have a toaster no more :P

     

    Regards all

  4. If it's a school that doesn't require liturgical versatility or a specialist instrument for a particular genre then I think your task may be a little easier. It may be possible to find a redundant organ that would work well without the need to make many (if any at all) tonal additions. I'd still counsel the school to get either a reputable organ builder (or competent amateur with a track record of good work) to do the installation.

     

    The school I teach at, which is a Catholic foundation with a large chapel, had a two manual Norman and Beard donated five years ago but it spent four years in crates while money was found for additions and installation. I can't publicly name the college but I'm happy to send you a link in a PM.

     

    Strangely enough I was looking up the village organ I started my playing on the other day. Look on the NPOR - West Vale Baptist Church - I get the feeling they'd give it to you if you volunteered to take it off their hands.

  5. If you type my name into Australian google, the two that interest me are the harmonica player and the convicted New Zealand sex offender. Other than that there is the guy who used to play Brownlow on "The Bill" who if memory serves could turn his hand to a mean Gilbert and Sullivan. Pretty paltry really.

  6. I agree - some organ - any of you planning on visiting Sydney, if you get in touch with the Town Hall far enough in advance they're very accomodating.

     

    For those already here Kurt Ison (he of the above clip) is giving a recital on Wednesday 22nd august at 1.15pm at St, James', cnr King/Phillip Streets, Sydney. Following the recital, pre choir practice lunch/drinks will take place at the Buena Vista Cafe, 14th Floor of NSW Supreme Court. All welcome.

  7. For some reason it was easier when I woke up this morning? Thank you both for suggestions.

     

    ps: Mr Cynic - you may be the owner of the least applicable alias - would that more cynics were like you :rolleyes:

  8. I used to play it - and also his "Second Benedictus" - published by Novello I think. Unfortunately, I mislaid both copies many years ago. Are they still available? (I can't immediately recall the Benedictus, but can clearly recall the opening of the "Second".) I loved them both and would like to have them back in my repertoire.

     

     

    Whoops - sorry about that. I had to order mine from Novello especially - it's illegal but I'm happy to scan you a copy for educational purposes only until yours arrives. I've become rather fond of it of late.

  9. Is this a masterpiece of symphonic writing in miniature or is it in fact overblown drivel. I can't quite decide but I'm playing it after Evensong on Sunday for the good members of the OBE society. Perhaps they'll enlighten me.

     

    They loved it......I'm still undecided

  10. Is this a masterpiece of symphonic writing in miniature or is it in fact overblown drivel. I can't quite decide but I'm playing it after Evensong on Sunday for the good members of the OBE society. Perhaps they'll enlighten me.

  11. Ahem! If i could be so bold to lead this conversation from the lavatorial depths to which it has descended....

     

    I'm yet to have an enjoyable experience singing congregationally in a large resonant acoustic, although I do recall Ian Tracey's judicious use of the tuba keeping a cathedral full of people on the straight and narrow for lot longer than I would have thought possible in the space.

     

    I'm sorry no-one know Coe Fen, it's a great tune.

     

    This probably added nothing to to the debate - sorry for the interruption - I can't quite bring myself to return this debate to the toilet so i'll compromise at the classical music/railway station issue. At Central Station here in Sydney they have the Rodrigo Concierto de Orange juice on seemingly interminable loop. It really is quite a boring piece when you're forced to listen to it.

  12. As long as the choir is good, yes. Especially when word painting, either through choice of stops or alternative accompniments

     

    Congregationally sung - No as it is so much harder

     

    Agreed - in my case i get to play for a professional 12 voice choir so I'm very lucky. We usually do two or three responsorial verses for congregational input.

     

    Was hard not to word paint tonight in Psalm 110 with all the slaking and shattering - I was a bit stumped for what to do with Melchizedek though

  13. I'm speaking from a purely Australian perspective here but i've recently had great experiences with Ahlborn-Galanti instruments. They did a fantastic installation at a church in Newcastle and also recently installed a large 3-manual with added pipe ranks at Newcastle University. They also do wonderful wooden keyboards, which may not seem much, until you've played on them.

  14. Oooh - I've waited months to get Blicked good and properly, and now I have. Hooray.

     

    However ........... when I said "great piece" I should have qualified it with "for a recital once a year, or maybe as an encore". For my tastes it's a standard above Lefebre Wely but not something to wave about in public too often. It's jolly to play though and the punters love it.

     

    For some reason I have a fanatical hatred of the Lemmens Fanfare. Is it just me?

  15. And as if by magic, the only other person working on antipodean time appeared.

     

    Great piece, although I'd be much happier if it finished on a full chord rather than Unison C's.

     

    I personally think that using a big solo reed for both fanfare sections is a bit excessive. At the aforementioned St. James', King Street, the Trompette Militaire can strip paint from the walls of most buildings in the vicinity, but I do use it for the second section. We also have a floating great/choir trumpet which is an option for the first section.

     

    I've heard it done both ways on a number of organs in both countries. For my tastes you either stick to the composers markings and go for the gradual build up of excitement, or just hang caution and flog it from beginning to end. The first option is also more preferable in a sympathetic acoustic, like St. Mary's.

     

    On an unrelated note, i just played the new Ahlborn-Galanti installation with added pipe ranks in the Great Hall at Newcastle Uni (that's the one just north of Sydney, for all our listeners in the UK). Stunning.

  16. So anyway - there i was in the organ loft playing the accompaniment to the rather unsatisfying Jubilee Mass by Flor Peeters. Reaching the high point of the whole piece (the end of the Gloria) I went one piston change too far and instead of underpinning the choir with full organ I left them bellowing to the accompaniment of one swell flute (which I'd carefully set up so I could give a note for the collect). I almost had to laugh!

  17. I actually left a career as a high school teacher because I became utterly demoralised. While I fully understand music has its place as a component of a much broader curriculum, I tried and failed to apply the quantifiable tick-box assessment system to the teaching of the subject. The bits that I enjoyed - the performing and directing of student ensembles, and the occasional moment where you could allow student's creativity to unleash itself - I figured I could do just as well from outside the system.

     

    My other posts on this site have established that I am blessed with a church that can afford to mount serious arts events. I am discovering that there is much I can do to put in place educational work based around our programmes. Having a seperate childrens choir has also been a major investment in our educational strategy.

     

    So your whinging local DOM missed the point entirely. Schools are full of committed teachers being gradually shafted by ill thought out educational whims and the erosion of funding. I also have no time for a huge whinge that isn't followed by a constructive suggestion.

     

    I was told that state schools won't work with churches. I've actually found that if you offer sensible, well planned creative opportunities to schools, some of them will jump at the chance.

     

    Anyone else found ways of connecting with the education sector? Or are there any teachers out there who can tell us what we as a church could provide?

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