Adnosad
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There is a quote from Jeanne Demessieux about the type of action that would suit playing Dupré's music best, and she stated that tracker action needed to be "very, very light"; the best type would be electric (by which, I gather, she meant e-p).
These "very, very light" and fast tracker actions, however, do exist; and maybe Mme Demessieux just couldn't know, because she tragically did not live to see the considerable progress in tracker action engineering since the 1960ies. I recently heard Dupré's Sketch op. 41, 1 (that staccato thing) on a 1989 tracker (this recording, nothing on youtube, alas) with the player going at breakneck speed -- faster indeed than John Scott on his, otherwise peerless, St Paul's recording. The only downside was that, on a tracker that basically was built in 1960 (1989 rebuild), the keyboard ended at g''', so that a few notes on the top end were missing.
Bottom line: As long as we are talking contemporary organbuilding, no tracker actions needs to be as clumsy as to exclude exciting bits of repertoire. On the other hand, some other very exciting bits, by composers such as Ligeti, Cage, Kagel, Yun etc., cannot be performed aptly on electric action instruments.
Best,
Friedrich
I don`t think there is a real case either for or against here regarding tracker action.
To use that hackneyed phrase its " horses for courses ".
As you correctly state some compositions technically are just not suitable for mechanical action. This seems to me to be a simple matter of fact based upon the limitations of mechanics.
Tracker action is certainly not a dinosaur. It should rather be regarded in similar terms to say, driving a Classic Car, preferably a Bentley. No synchromesh,no Bowden cables, no PAS,no heating - but what fun!!
There again,still making the comparison with cars; some people drive them in a better manner and with more results than others.
Tracker, pneumatic ( ! ) EP, Barker- whatever so long as it is well constructed and maintained it should remain a pleasure to play and I stress "pleasure " warts and all!
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Whatever happened to "Playing to the gallery," which is often what separated great organists from the rest?
When I listen to the sheer calculated 'cleverness' of Bach, and some of the showier moments, I'm quite certain that he was just, ever-so-slightly, the showman organist.
Other names abound.....Liszt, Reubke, Vierne, Gigout, Frescobaldi, Scarlatti et al.
Why do people write "impossible" music if it isn't to be heard?
The long suffering decline into piety and self-indulgence....Herbert Howells and an aniseed ball for a moment of guilty pleasure.
Back to "War & Peace" for a bit of light reading!
MM
Steady, Steady; we are all moving off beam on this topic. The original point made here was " do you agree/disagree with attending recitals to which you do not know the content of the programme beforehand ? "
Some very interesting comments made here which is fine. But, they are missing the original point entirely I feel.
So, draw a deep breath before you hit the keys ( keys on pc ok? )
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I have noticed that Dr. Simon Lindley, now asks for no applause after pieces, rather just playing straight through, and where by this was common in Durham Cath, when I used to attend recitals there years ago, Its seems a familiar occurence that what is going to be "played next", is well explained to all.
Peter
Precisely Sir. I have attended numerous recitals where the performer has augmented the printed programme with vocal additions. I stress;" already printed programmes "
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I would also agree with this. Having watched Cameron Carpenter play a large toaster on DVD, I would not wish to hear him, it is simply not a style which interests me remotely. I have little sympathy with saccharine-laden music, performed with kaleidoscopic changes of registration every three seconds.
In any case, he may still cancel at the last minute, just as he did before.
I should rather hear our own David Briggs any day - he also has a truly virtuosic technique; but in Briggs' case, it is allied to faultless musicianship - and superb taste.
However, that is just my opinion....
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I am quite happy with your opinion Sir
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Much as I prefer a (good) tracker-action, some of the best performances I've ever heard were played on instruments with EP, direct electric or even pneumatic actions.
Is it simply the case that main advantage of tracker-action is a well-proven, reliable design which requires minimal maintenance over a long period of time?
MM
Tracker, without any doubt. Depends upon the genre of the piece and the capability of the executor.
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That's a wonderful quote, but having heard Germani give an absolutely STUNNING performance of Reger on the organ of Leeds PC, using EP action, it didn't seem to affect his ability or panache. This single performance has lived in my memory for 45 years, and it totally won me over the Reger's music at the tender age of 15!
Organ playing doesn't come any more powerful than that!
MM
that sounds to have been some concert!
Wish I had been into organ music then. Hindsight is a wonderful thing! At least out of the Old Skool Greats at least I heard The likes of GTB and Flor Peeters. Demisseux - sadly not to be
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Thank you for asking.
We originally looked at High Wycombe Parish Church but could not match the church's diary with that of the orchestra.
We looked further afield, although local support for the band meant that the conductor did not want to stray very far from the High Wycombe area.
After some scouting around, we settled on All Saints Marlow, the organ of which features on the present Mander website, being a Mander rebuild of a Willis organ, previously worked on by Comptons.
I have not played the organ, but the conductor has, and says that it is a fine instrument which will handle the Poulenc well (the concerto has been performed there several times in previous years) and - an important part of the package - the church and locality are also very conducive to a pleasant concert experience.
The concert is on 20th November this year and I woudl be delighted to see anyone who feels like hearing the Poulenc, in company with some Delius, the Barber Adagio for Strings and the Britten Variations on a theme of Frank Bridge.
Finally, if anyone knows of a good timpanist who would be willing to play for expenses only (the concert is for charity), please let me know !
Kind regards,
Mark
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Sounds like one to be avoided at all costs.
I don't go to concerts to hear the performer's technique: I expect he'll play everything far too fast to ensure that the audience can't miss it, though. And it sounds like he's going to talk to the audience, which I hate. And he hasn't taken the trouble to prepare his recital properly - not to the extent of deciding what to play, for instance.
Gosh, it really has brought out the Grumpy Old Man in me, hasn't it? Better not take me too seriously!
Nick, I think I like you!! I take you very seriously!
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I seriously doubt whether the precise programme is of any particular concern to those wanting to hear Cameron Carpenter (or Carlo, for that matter), so long as they are guaranteed a display of virtuosity - and that they can surely take for granted.
Thanks for the input on this one. I will mull your comments over and decide at a later date.
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http://www.virgilfoxlegacy.com/mp3/audio01/SweetDeath.html
Am I alone in thinking that this is utterly gorgeous?
*awaits first clever reply of "yes"*
Agree, wholeheartedly. Have this on vinyl . definitely not one for " the Baroque Boys " !
Glad there are no other attempts to recreate this, to best of my knowledge anyway, in recitals or on cd. Even his protege CC hasn`t attempted.
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Well, he's done it! Many happy returns, Dr Vann!
Yes,proves that regular organ playing can improve ones chances of longevity!
Let`s hope FJ makes it too; he can`t be far off The Telegram can he?
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I have just downloaded from Amazon - an increasingly disturbing habit - the Procol Harum concert in Denmark. A wonderful blend of the best of rock music and the best of the "classical" style. The orchestra and choir really enhance the music of PH, and Gary Brooker's voice, though not trained as such, really evokes a degree of emotion rarely found in rock.
Peter
Correct, I endorse your comments regards PH . A totally unique band who still sound as good now as they did in The Old Days.
The raging controvesey as to whether or not the underlying melody is Bach or not seems somewhat superfluous when compared to their wonderful song " Repent Walpurgis " and the theme they " lifted " for that!
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Just wishing to collate readers opinions on the issue of " the programme will be announced from the console ".
I ask this with regard to Mr. Carpenters scheduled recital at the Bridgewater in May.
Maybe this is a fashionable trend with Our American Cousins ?
The main point I am making is this, whilst not doubting Mr. Carpenters musical abilities I am more in doubt as to the capability of the instrument in the hall which has,shall I say,delicately, " limitations ".
Bottom line is would anyone be prepared to pay £15:00 up front and not have a clue as to the programme ( or is it program??!! ) content?
Concerts I have attended of a rock nature have, when announcing a " mystery guest " been pretty abysmal.
Possibly I have answered my own question!
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The Parish Church?
A
Bit late coming to this site but interested if you were successful in your mission?
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My first recordings of these works were Jeanne Demessieux and then Germani. I still think they are wonderfully wrought performances in differing traditions perhaps. But the quality of the recordings might leave much to be desired these days. I love the description of the former's funeral in her church in Paris (La Madeleine). The coffin was draped in black (Dior?) to the floor and the organ remained silent.
N
For me personally, I am in full agreement with regards to the performers. I don`t fully agree with you as to the quality of the recordings. I feel that the engineer successfully " caught " the ambience of the church in Demessiuuxs` performance. Action noise is an added bonus!!
Regarding the description of The Great Ladys funeral I stand to be corrected ,but I think it was the organ case which was draped in black.
My big regret is that I never had the chance to see her play. I am very fortunate to have in my possesion a programme she played at the Colston Hall in `57.
My parents were very impressed by the way she wiggled onto the stage in a pencil skirt, perched on the edge of the stool, unzipped her dress almost to the thigh , swung her legs over and commenced playing complete with those legendary heels. The stuff of legends!
Progigious talent , due to Dupre as her tutor/mentor but unfortunately she had to pay a heavy price for her art.
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Being a bit of an outsider this sad news has only just reached me.
His recording of 565 will live for as long as there are human ears to hear and the machinery to listen to it.
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I can recall as a child being shown round an old country church by a very crusty old church warden who I can clearly remember emphasising the point that " Handel did NOT play this organ! ". Think it was somewhere in Yorkshire.
" Mystery " Programmes comments
in General discussion
Posted
Agree with you absolutely. However the point I am desperately trying to make on this thread; and I can see I am failing,is essentially " would one attend a recital/concert, or anything else for that matter to which one is not a party to the content".
Personal qualities/abilities, or even the complete lack of them even, do not form my original question.