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Adnosad

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  1. Probably as a direct result of him being born and bred north of Watford Gap. Time well overdue that all this nonsense was swept out with the rest of the detritus.
  2. Heard of his passing whilst attending the recital on BHM. A very long successful tenure which for the most part involved a team of two ! Have to say that I am still rather puzzled as to why a boy, who went on later in life to become very successful in the musical world as a singer/performer failed his audition to be admitted to the choir ? There is an interesting ( for those interested that is! ) picture of this local boy attending the cathedral in Joe Rileys book entitled " Todays Cathedral ".
  3. Most unfortunate. One could say that this represents the fraility of life; or an accident caused through human carelessness. Whatever, the destruction, even as portrayed at this stage ,appears to be total.
  4. A wonderful organist and composer now residing in a higher organ loft. My fathers studies at Manchester overlapped with Noel and I remember my father commenting years later that his technique and ability were " somewhat considerable " at that early stage. He took my father to Liverpool so he " could have a go " and when he saw the console he said he nearly fainted! The two of them met up many years later whilst my father was playing quite a lowly instrument in a small church but Noel gave a marvellous recital on this organ. I think the " fee " was a crate of Guinness "! IMHO his finest recording was with his colleague Terry Duffy of Solers concertos - pure bliss and magic. The 93rd Anniversary recital promises to be something else I think.
  5. A bit of an " enfant terrible" this one, IMHO and for what it is worth. One could say that " it all depends on what you mean by.... ". Regarding the term " organ concert " so far as I am aware this is the usual term which Americans give to what us Brits would refer to as a " recital ". Nothing particularly wrong with that I don`t think ( IMHO again! ) However, in order to ascend to the dizzy heights of being an " international concert organist " as opposed to a mere " organist " I would agree that the player/performer has to be free from the normal shackles which confine most organists to their consoles. There are n number of professional organists who undertake " trans Atlantic" " or " continental " tours. Several of these are formed from the ranks of our divers cathedrals and often take the format of summer tours and include their choirs too. This is usually on an " exchange " basis. Those organists who have managed to gain the status of " international concert organist " are musical creations of another dimension altogether. They have all undergone the usual rites of passage , tutelage etc. but have been fortunate to develop a completely independent career path to their conventional colleagues. I am not going to " name names " as such for that is too controversial, but I think on the English scene I will not have to duck from too many brickbats if I should mention as an example JPS. She would fit the bill on the basis of her musical training, extensive touring abroad on " more than one occasion ", has a good recording history, lectures whilst on tour ,adjudicates , and finally , employs a management/ PR agency. Good topic for more debate this one methinks.
  6. Hmm! Plenty of material to consider on this topic. You choose a good exam question along the lines of " Can it be said that the quality of English organ music went into a state of decline in the early nineteenth and twentieth century " ? I would state that there were a lot of player/composers who have left us a huge legacy of organ music; the problem being that there is just too much of it and its accessibility is not always easy. Libraries, attics, car boot sales, skips even! During the period under discussion not only in England but also Europe and America there was what could almost be described as a virtual renaissance in works for the organ which matched the developments in organ design on an exponentional scale. The discussion could now divert down the avenues on the subjective/objective quality of some of this work . WTB stands out as a prime example of a brilliant organist who stood classical music on its head by arranging " Classical Hits " for the Common Man and successfully dragged good music out of the musty hidebound stable of the class ridden concert hall . Bests successor at SGH has for some time now regularly included a transcription or two successfully into his recitals . He has also included in other recitals some pieces by lesser known ( or totally forgotten ) composers from the period under review. There are mighty Titans from this period , most notably IMHO I think would be CV Stanford. To finish ( yawn! ) I endorse your comments regarding playing technique/ interpretation; always a bit of a political animal this one. IMHO, which it is all its worth, I think that if we are to really understand and develop our musical skills, both theoretically and practically, and in doing so help to enrich an already ripe harvest we will have to look both back - and forwards ; or to use that terrible metaphor , " avoid throwing the baby out with the bathwater ". Eaglefield Hulls most excellent book is as relevant now as when it was first published. One has to make allowances for the epoch in which Hull was trained and any modern day shortcomings which it may now reveal. The same can also be said, I think, with regard to Conways " Organ Playing " written some forty plus years later. All in all a very good posting worthy of some serious debate.
  7. Attended the Parr Hall last night for the recital which was most excellently presented / played by " The Boss " whose approach to " the console with teeth " was both brave and impressive. The sheer pleasure of hearing period pieces being played on a near as it gets period instrument of this type is quite invigorating , as well as being rare. We all acclaimed Prof. T`s comments regarding the work and effort put in by the hard core band of dedicated enthusiasts and professionals; as well as the Management Team of the Parr Hall in their excellent promotion of the nights event and,hopefully, continued promotion of recitals. The number of bums on seats well confirmed the need to retain this instrument in the hall. I believe another recital is planned for later in the year; I hope it is attended by as many, if not more. There has to be physical evidence of support for the halls management team to decide that they are on to a viable proposition; last night I feel proved this point. It is no good banging on about " this wonderful instrument in our midst - oh dear what a pity it`s no longer there " if people do not make the effort to support it. Once again, well done to all concerned Oh yes, finally, to those omnipresent individuals who one can almost hear sneering with self satisfied contempt, " and just how many recitals have you been to? " - well, first recital was CC in the `80`s and then joined the CC supporters Society, the rest is history.
  8. Liverpool Anglican Cathedral Saturday 29th June 1930hrs Olivier Latry ( Paris )
  9. Very sad reading indeed. god is indeed good;isn`t it?
  10. Output resistors blown ,possibly.
  11. Yes, but only due to the fact ,I think, that the Allen he used at that location was a fairly modest instrument of 2 manuals. Can remember C C and NR " arguing" over who had the rights over the Sinfonietta as their " theme tune " The actual instrument I was referring to is The Monster On The Hill; which incidentally I heard Richard Lea play today. His playing of the " ad Nos " on the partially restored instrument was truly spectacular as well as frightening
  12. Yes, I do agree, York, Leeds, Halifax, Ampleforth,Doncaster............. to name just a few but it has to be said that here in Lancashire we have all these rolled into one.................. Liverpool!!!!
  13. Good that Allen have provided Carlos old touring workhorse for the occasion so I will have to eat my words re` my previous post! Think we can bet pretty safely that Himself chose the tunes. Reckon that shares in " Kleenex " will increase as a result of playing that selection For some strange reason ,which completely mystifies me, Carlo adopted This Wonderful Country as his adopted Homeland and it is very fitting that he developed such a love for Gloucestershire, and especially Pershore and its wonderful Abbey. Thank heavens he did not deem to be situated in Yorkshire for perpetuity
  14. I agree, a perfectly suitable location for a memorial service for a highly talented and allround pleasant person who is sadly missed. I see no problem in the fact that the outstandingly beautiful,spiritual, abbey church at Pershore should be the setting scene for this celebration of CCs life and work. In fact the very lack of a box of shrieking whistles and booming foghorns to accompany the service will make the event all the more spiritual and contemplative. If I remenber correctly ,at the funeral service, held at The Madeleine, of a well known Parisian organist/ musician , the organ was not used.
  15. Have just paid a visit to this site after a long period and am somewhat saddened to read that this issue has not been successfully concluded. I feel quite sure that whilst many people are genuinely interested in the survival of this instrument it is the large amount of cash required for its purchase/removal/restoration/re-location which is pivotal in the instrument remaining in Parr Hall. A lot of credit must be given to WBC who whilst making best efforts are at the same time frustrated by the lack of a solid offer, backed up by the cheque; in order to release it from its present limbo. Speaking personally, if it were fortunate enough to be moved then the most fitting ,suitable venue would be a few miles down the road in Pugins masterpiece at Gorton. That is providing the gallery is still intact at the West End.
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