Ian Ball
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Posts posted by Ian Ball
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Bernard Aubertin has made a speciality of fractional length reeds, with cylindrical resonators and leathered shallots, which produce strong, stable notes with lots of fundamental. They take up very little room. There are several examples at 32' pitch. Can't recall whether they are 1/4 or 1/8 length, but they sound superb!
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Blackburn. I have played it (prior to its recent rebuild). It was good - if a little 'thin'. However, as far as I am concerned, it does not compare well with Coventry. Perhaps this is a little unfair, since the latter instrument is considerably larger. I think that, in that enormous acoustic at Blackburn, the organ needed a somewhat different sound; something with a little more body - and, for my personal taste - no electronic nonsense.
Go and play it. A stupendously good instrument, hugely improved by the (not-so-recent) rebuild. And, for my personal taste, more pleasurable to hear and play than Coventry, and more versatile.
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And to think twenty or thirty years ago it might easily have been swept away and replaced by a shiny new Rieger or Klais.
JS
Although, these days, both firms are making luscious post-Romantic style instruments rather successfully. Had the privilege of hearing the new Musikverein Rieger on Sunday (Hindemith 2nd Organ Concerto and Strauss Alpine Symphony). Magnificent, although not the steadiest wind, nor sufficient 32' flue fundamental to support Strauss' Alpine Symphony. Nevertheless, some beautifully classy 'new' colours (i.e. back to the '20s) and light years away from Clifton, Christ Church, Smith Square and The High Kirk, beautiful and classy though they can be. And the mobile console... my my. Mirror finish, ebonised casework like a Steinway. Burr [something] wooden stop jambs and beautiful, ergonomic, Austro-German stop-key arrangement. I'm sure Rieger or Klais would do a wonderful job at Kings today, funds permitting. But then, so could the bigger British builders, after their recent experiences restoring instruments of a similar vintage (not just in the UK) without neo-classical dogma kicking them in the ribs.
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I had a bit of a contractual issue recently, insofar as I'd just been offered a new job when my old employer suddenly threw a contract at me, with a quite long notice period thereon.
Being an ISM member, I took advantage of their free legal helpline. As the advisor said to me over the 'phone: "Just accept the other job, give the old place at least a month's notice and don't sign the contract. If they couldn't be bothered to issue it until now, it's their own stupid fault that you can walk away at such short notice."
This raises two pertinent points:
1) ISM membership can be well worth the annual subscription fee; Absolutely
2) Contracts are binding, but only if you've signed them. Er, not quite - as this thread has shown, a contract is construed from far more than a piece of paper; its absence does not mean there is no contract of employment (or for 'worker' or sub-contractor status - an organist could indeed be one of those). For employees, in the absence of evidence that both parties intended to be bound by certain notice periods, then statutory notice applies, which is one week for employment from one month up to two years; two weeks for two years' continuous employment, adding one additional week for each further complete year, up to a maximum of 12. Assuming your old job had lasted for over one month, you could have sued your former employer for 2 or 4 weeks' pay for failing to issue a statement of terms and conditions, but only if you had another actionable claim. It is not a stand-alone right.
And in order to that you need to have a copy. And churches are often very slow at providing copies! Having said that, my new place issued one within a month of my arrival. I'll be happy to sign it, for it seems to be well in order and the only quibbles I have are the typos in my name and address on the first page. (This place is clearly on top of its game!)
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Forgive me. I didn't realise you were also qualified in cut'n'paste.
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Employment contract law is quite involved, and essentially operates in three distinct ways: verbal, written and what could be described as "normal custom & practice" associated with a particular job.
The written contract is by far the easiest to understand and act upon, but even then it can be varied or rescinded at any time, with adequate notice of intent, with which the opposite party may agree or disagree. So far as I know, that works both ways, but if the two sides cannot agree, then a contract can be terminated.
It's all a bit shadowy, because I seem to recall that employment contract law springs out of the laws pertaining to "master & servant," which does tend to favour the master.
Even where a written contract doesn't exist, a firm contract of sorts is in place, on the basis of verbal promises and also on the basis of what the worker (servant) normally does in the execution of his/her duties; the basis of "custom & practice."
Where my knowledge fails, is how all this applies to part-time working, which I'm afraid is beyond my management experience; so perhaps someone else can answer this.
So, what it all means, is that when a "servant" is "hired" to do a job, then at the outset, there will be discussion of what the job entails (a job description), and I would think that any court would recognise the validity of that as either a part of the contract or in the form of "reasonable" expectation.
In other words, if you sign up to play the organ, and they hand you brush and shovel on your arrival, you have fair grounds for complaint or even constructive dismissal; the latter being based on the assumption that you are prevented from doing what you were hired to do. So yes, the job description qualifies the terms of the contract.
However, at any time, one or other party may vary the contract with due consultation, and the usual thing is for the "master" (the employer) to point out the change to the contract, discuss the implications of the new terms, and then to get the "servant" (employee) to sign a revised contract. That way, no-one is in any doubt, and things remain legally (and morally) sweet.
In effect, it comes down to the meanings of trust, promise and reasonableness, as would be understood by the "reasonable man" sitting on the top deck of the Clapham Omnibus.
Of course, there's a lot of sharp practice which slips by without ever being challenged, but that's a another story.
MM
Alternatively, you can talk to an employment lawyer. Send me a PM. Most of the above is completely wrong.
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Henry Fairs playing Liszt's 'Ad Nos' fugue at St.Pauls, mayby a bit washy (that's for that 'special' stop called st.pauls), but d*mn what an organ it is!
Powerful playing too ...
Absolutely electrifying. A musician who plays with his ears. Loved it.
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Now we are getting warm...
[snip] Yes, they allow you to play uncoupled if you are determined to do so; but they still sound nothing like Buxtehude's organ, so what's the point?
[snip]
Hear hear. One simply wants an adequate bass to the manual stops when accompanying. Balanced independent choruses are not only completely irrelevant but undesirable, since one accompanies a cathedral choir by using the organ like a giant one-manual, perhaps leaving one keyboard free for uncoupled solo effects occasionally. Even that might be a rare thing, since an enclosed Solo division will usefully be coupled down for many things. So, one might be moving mainly between Swell and Choir (with So and Sw coupled to Ch) most of the time, with solos played on the Gt flutes or diapasons. Or one couples everything to the Great, sans Great stops (since jumping from Choir to Swell is a pain) leaving the Solo free for clarinets and harmonic flutes, or 'squeak & growl' in the psalms (16' Cor Anglais, Gamba, [Clarinet] & 4' Flute with right hand up an octave, left hand down an octave etc etc). That leaves wriggle room to thicken the stew with softer Great stops when the choir sings more lustily. The most important things to find when practising on a cathedral organ, are the 'fake' effects and to get the hang of reaching such combinations by the most efficient route, since setting up generals for a psalm or anthem is both time consuming and restricting. For example, 'diapasons with full swell' might only be Stopped Diapason and 4' Principal (unenclosed somewhere) plus Swell 8, 8, 4, 2, Oboe, Double Trumpet, if the Swell 2' and unenclosed 4' have sufficient harmonics. Why 'fake'? Well, any more stops and it might sound too muddy or blow the choir away.
But I digress. If pedal upperwork (by which I mean anything other than an 8' Bass Flute) is any good, it will have been voiced to balance the Great upperwork, which is seldom used under a choir. One needs six pedal stops, at most: rumble, mf bass, p bass, [pp bass], helicopters (32 & 16). Conveniently placed Great to Pedal and Choir to Pedal pistons are essential. Then, if the rest of the organ is well voiced (bearing in mind the size constraints of this particular challenge), pedal upperwork is again pretty redundant. Bach is perfectly convincing at Truro using the Great 16' to Mixture chorus coupled down to the Pedal Violone, Bourdon and Octave: 10 stops. Perhaps plus Ophicleide (but not Open Wood) and Great reeds in the right piece. Because the chorus is well voiced, the treble sings, the bass has definition, but the middle voices can still be heard.
My ideal small cathedral organ exists in several forms already so doesn't need reinventing: Truro, Blackburn, Malvern Priory immediately spring to mind. I'm sure there are several smaller parish church organs which would do the job perfectly well. As Dr Who once said (after filming in Wells Cathedral) the organ is more of a mixing desk than a musical instrument - this is absolutely right, especially when playing symphonically, which is precisely what one is doing when accompanying Anglican liturgy on a typical Anglican cathedral organ.
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Note the pedal cadenza at 7:47 (!)
No - that's in the left hand
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Blackburn Cathedral
Lunchtime Organ Recital
Wednesday 2 November, 2011 at 1.00 pm
IAN BALL (Worcester)
IN MEMORIAM
Music for Reformation Day, All Saints & All Souls
J.S. Bach: Ricercare à 6 (from The Musical Offering) arr. Jean Guillou
Maurice Duruflé: Prélude et Fugue sur le nom d’ALAIN
Ferencz Liszt: Funérailles (from Harmonies poétiques et religieuses) arr. Kynaston
David Briggs: Attende Domine (from Le Tombeau de Duruflé)
Naji Hakim: Gershwinesca
Admission free; retiring collection
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Never mind all that. Ian's right. The organ was bespoke to the hall, was supposed to be a concert organ, and it's inadequate. If it had been scaled and voiced and winded properly for the building, then there wouldn't be a problem. If the hall wasn't ready, then more fool the builders for agreeing to press ahead without knowing the surroundings they'd be working in.
The organs of York Minster and Salisbury Cathedral and numerous others were never intended to completely fill the nave in that way, as most services were in the Quire with maybe a bit of overspill.
Thank you. I couldn't have replied better myself to such a condescending and largely irrelevant post, and I certainly have no intention of justifying my opinion or posting my CV on this forum. But by way of postscript, one should not assume that the Clifton Cathedral organ is 'adequate' for the building (depending on your definition), or that it stood a chance of ever being so. It was the best the Diocese could afford at the time, and is an improvement on the original intentions of the Diocese and architect. Like the BH organ, it is intrinsically a fine instrument, but the circumstances surrounding its installation are completely different. As MM says, there is a lot you need to know.
However, is it unreasonable to assume (and I accept that I have made an assumption) that acoustician, architect, organ consultant and contractors communicate, in circumstances where comparable projects have not provoked such a flood of criticism and controversy?
Or perhaps I have misunderstood. Perhaps MM could clarify whether he is implying that it is simply not possible to build an organ appropriate to the client's needs, in a space like Bridgewater Hall?
Off to enjoy the rest of my evening sucking eggs (cheeky wink).
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It isn't the organ Ian.
MM
Oh. Forgive me. I must remember to blame the engine next time I drive an under-powered 'family' car, or blame insufficient RAM next time I use a slow computer being sold for gaming.
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Remember to turn your hi-hi up to 11. You don't want the neighbours complaining that the BH organ is too quiet.
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St Mary's Episcopal Cathedral, Edinburgh: Great Stopped Diapason.
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Human Planet (whatever that is), 'comedy', Hollywood - the Proms programming seems to be going the way of the dreadful Classic FM. What next, advertisements between movements? Bleeding chunk? Pop?
I'm appalled.
Well, assuming that this post isn't satirical and also assuming for a moment one doesn't subscribe to the 'Frasier' attitude that the 'snob factor' is a positive boon, keeping 'classical' music (or wine, polo, skiing etc) reassuringly exclusive, I would subscribe to the Bernstein/Goodall attitude that music is music, particularly for a lengthy summer festival such as the BBC Proms, where entertainment value is important. Given that much 'classical' music these days incorporates styles and techniques pioneered by 'pop', I think it's a good thing that diversity is being championed. And if it gets bums on seats (in front of Mander's greatest rebuild) then perhaps budgets can be met and curiosity stirred.
Incidentally, I thought 2009's MGM Musicals Prom and the Dr Who proms among the most entertaining live events I've seen in years. Alas I missed this year's Comedy Prom but heard good reports.
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I'm sure Stephen Farr played superbly, but I was referring more to those who decide what should be on the programme;
So was I
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Tuesday 26 July, 13:10 - 14:00
Bath Abbey Summer Prom Series
Ian Ball (Worcester)
J.S. Bach arr. Ball: Sinfonia to Cantata 29
G.F. Handel: Extracts from Tunes for Mr Clay’s Musical Clock
W.A. Mozart: Fantasia in F minor (K608)
Zsolt Gardonyi: Mozart Changes
Naji Hakim: Gershwinesca
Admission Free
Console view via video screen
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Isn't it all a bit stuffy and predictable?
Neither adjective sprang to mind hearing Stephen Farr's prom.
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... (although I would prefer not to hear the first and last pieces !)
I know what you mean, Sean, but he who pays the piper...
The church rarely holds organ recitals and asked for 'popular' pieces. So I deliberately chose a programme one seldom hears these days: the kind of selection Noel Rawsthorne would play, especially for those unused to organ music, and which first drew me to the organ in the '80s. The Widor was a request; two couples in the audience were celebrating wedding anniversaries. Actually, I've never played BWV565 in a public recital (what a good opener it is!) and rarely programme the Widor without other movements from the same symphony. It all hung together rather well and a large, varied audience went away happy, humming tunes and saying how good it was to hear their organ "in its own right" rather than during the liturgy. Perhaps we're so afraid of giving the punters what they want sometimes, we end up alienating them?
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Ian Ball at St Mary Magdalene Parish Church, Church End, Twyning, Gloucestershire, GL20 6DA
Saturday 23 July 2011, at 7.30 pm. Admission: £8 (includes interval wine)
The last organ built by John Nicholson, restored in 2004
J.S.Bach: Toccata and Fugue in D minor (BWV 565)
Handel: pieces for Musical Clock
Mozart: Fantasia in F minor (K608)
Schumann: Study in C (Op.56/i)
Elgar: Allegro maestoso (from Sonata in G)
Interval
Boëllmann: Suite Gothique (Choral; Menuet Gothique; Prière à Notre-Dame; Toccata)
Vaughan Williams: Rhosymedre
Gardonyi: Mozart Changes
Widor: Toccata (from Symphony No.5)
Encore: Grieg: Solvejg's Song
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Whilst I take Ian's point completely about touch and learning the notes, I'd still rather do that on a lone Stopped Diapason that a suck blow reed organ.
Oh so would I - but I'd rather spend that sort of cash on a 4x4 or a loft conversion. We were discussing the benefits of reed organs as budget home practice instruments.
As for those who believe there is "no intrinsic variety of tone" - it all depends on the quality of the reed organ and the breadth of your expectations. You get as much variety of tone between [reedy] 'Clarabella' and [reedy] 'Gamba' as between your Stopped Diapason and your Koppel Flute; your Portunal and your Open Flute etc, which is fine for learning the notes. But you also get an independent pedal division, 16' stops and a rather satisfying Full Swell with a wide dynamic range, and a ppp Dulciana for pre-breakfast practice
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That's the sort of thing. So, if cleaned up second-hand II/P examples with new springs were available for sub-£2000, you'd be recommending them as practice instruments?
Yes
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It was indeed, and a very striking looking beast, too. I have always assumed that most reed organs sucked (as it were), apart from French ones and some German ones in the same sort of style. There was a relatively modern 2m and pedal suction reed instrument by Jacot in Holm Church, Orkney, but it wasn't particularly robust.
Were Holts and Apollos suck or blow?
They suck!
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Taking for granted for one moment that we generally agree on a pipe organ being the best option, and that live music which causes actual vibrations in the air is superior for accompanimental purposes to recorded music (whether from a CD or an electronic organ)...
... why is it that harmoniums and American organs are not regarded as the automatic second choice, being (as they indisputably are) at least the equal of the electronic in terms of maintenance, cheapness, compactness and longevity?
It astonishes me. One has total control over the attack and release of each note, an action resembling the best large old tracker organs, and quiet stops so as not to disturb the neighbours. If only the concept had been properly developed: the incredible voicing and subtly of the best Mustels (blowers) with the practicality, size and robustness of the best Holts or Rushworths (suckers). [i am taking for granted a full pedalboard and electric blower/sucker]. I would never give up my reed organ for a toaster, even tho it can sound a tad Pugwashian in the wrong repertoire (who cares when you're just learning the notes). It is the next nest thing to a small pipe organ - and with my Apollo's aged 'pallet' springs, when uncoupled it feels even closer to a temperamental mid-50s Flentrop then ever, meaning one has to stay on the keys! Staccato does NOT work, unless it is weighty and Franckian. No bad thing for beginners transferring from the piano, tempted to play Bach and Mozart as if flying a sewing machine. Carefully controlled détaché works perfectly, however, and a well set up machine speaks just as quickly as comparable pipes, down to 32' in the pedal. Ideal. Plus, 16-foot stops have so many more harmonics, one doesn't need to couple if independent voices are needed. Trios work well on the smallest 2-manual reed organ, uncoupled, tho perhaps with a convenient octave transposition on the manuals (which have an abundance of 16' stops and full C compass).
Sadly, I suspect that the cost of building a new solid oak or mahogany console with ivory & ebony keys would be greater than a mid-price toaster, even before one employed a free-reed voicer skilful enough (if they exist these days). I suspect one might as well commission a decent 3-stop tracker than build a reed organ anew. Expensive. Great shame. I confess to being a convert, without the back ache induced by some new house organs I could mention...
Ian
1/8th Length Pipes
in Nuts and bolts
Posted
Likewise - apologies for misinformation. Was going from a conversation with Michel Gaillard in my pigeon French!