peter ellis

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

I bought a CD in Paris 6 years ago of some badly recorded improvisations by Yves Devernay. His sense of pulse is erratic but the improvs are just amazing. You need big speakers though.

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.

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.

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

Just back from our Ascension service - it just struck me half way through verse 6 today just how much i enjoy accompanying Psalms - does anyone else share my weakness?

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.

Going off topic for a moment does anyone have an opinion on the Garth Edmundson Toccata on "Vom Himmel Hoch". I can't decide if it's great or awful.

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?

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.

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!

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?

As the fart jokes are all taken (damn this time difference) I'll be a swell super octave coupler to great. Always enjoy going one step too far at inappropriate moments.

It's always good to be Hooraahed. I will pass it on to the relevant authorities. As for the job - right place, right time. This particular church is unique in this country, I'd hate to give the impression of Australia being organists paradise. We of the Antipodean organ fraternity suffer the same indignities (even Australian brides seem to all have an Aunty Mary who just has to sing "Ave Maria") as everywhere else. I quite like the idea of a note quota though. We did the Leighton "Solus ad Victimam" on Palm Sunday. I'd still be laughing now if the organ scholar decided against playing the final chord because it exceeded his contractual obligations. Bedtime for expats now. Toodles x

Just to set the scene I'm Assistant Organist and Music Development Officer at a church in central Sydney. The church can afford to salary me, the Director of Music, an Organ Scholar and pay a "stipend" to the twelve people who comprise the choir, one of whom is also "stipended" (a new word methinks) to run the children's choir and another to act as choir librarian. I expect to be appraised every year - key competencies being ability to play well, sightread well, conduct well and undertake the managerial tasks in my music development role. However, I am full time salaried in this position. The Director of Music is more than qualified to judge my musical work, and other professionals in the parish are more than qualified to judge my managerial work. I am comfortable with any appraisal process based on this scenario. However, being judged against ill thought out criteria by someone who is not qualified, is a process which benefits nobody. Also, if they wish to put you on an outcomes based rolling contract, be sure not to do one iota more than the requirement. Once they realise how much extra work you did before, despite your woeful RSCm rates, I'm sure they'll have a rethink. So I guess to sum up.... Carefully considered performance appraisal linked to specific parish needs and allowing for professional development of musician = good. Random application of shifting priorities allied to woeful money = bad. Hope I added something to the debate

www.trinitywallstreet.org will also provide you with hours of fun. There is a particularly funky improvisation on a theme of James Brown as well as some Cameron Carpenter fireworks.

It's OK - Pierre can have your cuddle - Belgium was where I first got hopelessly drunk so I have fond memories. Nice improv on NYE by the way

I joined months ago and I'm beginning to feel affronted that no-one's insulted me yet. I'm off................. .......................well I tried at any rate but I just missed you all too much. Cuddles all round.

I'm one of the more sensitive souls who seem to attract those of a departed disposition. My current church in Sydney (St. James, King Street) is most definitely haunted but is also a beautiful atmosphere to practice in. In actively enjoy being in there alone. My first church, West Vale Baptist near Halifax, also had presences. Practicing in a dark church one Christmas Eve there was a distinct male voice joining in with a carol tune from the rear of the gallery. At the time I was prepared to think my ears were playing tricks but my stop puller (a now ex-girlfriend) was frozen to the spot in fear. Racking my brain for unpleasant ghostlike experiences.......Dewsbury Minster, Saltaire URC. Mostly they've been very affirming - maybe the majority of church ghosts are happy?

Every time I appear on this board it seems I'm harping on about Australia in one way or another. Apologies but I live here and I love it. The 1892 Hill of 26 stops and 3 manuals in Christ Church, St Laurence, Railway Square, Sydney is small but perfectly formed.

Now we're talking - how about a stop which opens either an escape chute for the organist or a disposal chute for his/her conversational distraction. i'm sure virgil Fox would have done it if he'd thought of it (note - I'm trying to keep this thread relatively on topic)

I personally enjoy wedding guests congratulating me on my playing during the recessional - nothing like passing the time of day to the Widor Toccata.

I've got to protect names but a conductor I know of was conducting a choir in a rehearsal of the (I think) Mozart Requiem - at one point he turned in exasperation and said "no, no, I really need you to hit me with the "C" of "Cum". Certain singers have never been the same since. Personally I'm all for a dramatic consonant but really.

Benedictus by Alec Rowley is a cracker. Four minutes of borderline indulgence. I think you have to get it on special order from OUP. Never heard any Caleb Simper - trod in some once though. Took weeks to get rid of the smell

I have to admit to being a tad amused by Ship o Fools, and there are times I think they (whoever "they" be) hit the nail on the head. I do recall however that on occasions there will occasionally be a church review of say an Anglo-Catholic Evensong and Benediction written by a correspondent with avowed Pentecostalist leanings. That does strike me as rather pointless. I suspect was I to go and review Hillsong it would lead to a relatively unsympathetic article, which would do none of us any good. As far as Michelin stars for the clergy, maybe we should instead consider providing phrase books, so that clergy, parish council and music staff can adequately comprehend what each party is on about. I suspect that we of the organ fraternity sound more incomprehensible than most. I should also say I've had fantastic relationships with every member of the clergy with whom I've worked. I suspect I've just been lucky.