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S_L

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  1. La Madeleine is the most beautiful church in a rather chic quarter of Paris!!! Odile Pierre's successor, Francois-Henri Houbart is still, I think, in residence. He was most welcoming when I visited in the 1980's. Past distinguished titulaires have included Lefebure-Wely, Saint-Saens, Dubois and Faure. Odile Pierre was there for 10 years succeeding Jeanne Demessieux in 1969.
  2. I have it in my mind, and I'm sure someone will correct me if I'm wrong, that some of the 32' pedal pipes of the Klais organ in Symphony Hall in Birmingham came to the hall by canal. I'm sure I saw a local news programme about it in 2001. It is logical - there is a canal immediately behind Symphony Hall ……………….. but I might be imagining it!!!
  3. I remember the old Mander organ at Sheffield. Graham Matthews showed it to me in about 1972/73, I would think. I also remember a recital by Jean Langlais at which I acted as registrant for him. The rehearsal was fascinating because he felt his way around the stops knobs playing and listening as he went. It was all a slightly nerve-wracking experience! There was a Tuba that, if I remember rightly, was en chamade and, sitting at the console, it nearly parted your hair!! I never got to play it but I did play the organ in the RC Cathedral in Sheffield - in 1975 - for the wedding of my brother in law.
  4. There is also a Magnificat in B flat - a capella - for double choir - set in Latin - difficult music! The recording I listened to was Christopher Robinson - but with St. John's and the BBC Philharmonic - it was excellent. But I can't find the Kings CD with the other three settings with orchestra. Perhaps, Rowland, you might point me in the right direction.
  5. I couldn't agree more. Immense and symphonic are absolutely correct - and I can hear Brahms in there too! But I can only find the A major Canticles! I listened to both the Magnificat and the Nunc Dimittis this morning and the music came alive as it never has before! Are you saying that there is also an orchestrated version of the C major Canticles as well? It appears Stanford originally conceived the A major with orchestra when he wrote it in 1880 for Stainer at St. Paul's in London. I didn't know that - and I can't find a score!!
  6. This question was answered some time ago, by somebody else! I seem to remember with much the same tenor as below! As far as practice is concerned, it is far more difficult nowadays than it used to be. I can remember, after Morning Service, being left to my own devices, and being told to 'drop the latch' on my way out and to 'make sure I had switched off'!! I can't see that happening nowadays - safeguarding, insurance etc! I served a short sentence in a city centre church in a major city. The difficulties of getting into the building as a member of staff were huge because of unwanted attentions of people in the area. A youngster wanting to practice there would have stood no chance of access. The issue of noise, of course, is a problem, too, in churches where access isn't a problem - vergers, flower people, those manning bookstalls etc. need to have consideration shown towards them. And then there are those who fiercely guard their instrument (it's not 'theirs' by the way!) against all invaders adopting a patronising, superior and high-handed attitude to any request for access. (Back to the organist and terrorist!!!) I'm afraid, in my experience, there is quite a lot of this and, for some things, but given a more sympathetic approach, I can, slightly, understand a reluctance to allow access! I'd be willing to bet that the majority of students of the organ in our Universities and Conservatoires began their lives in the 'Public school' sector where they did have access to an instrument for practice. A youngster in a city Comprehensive (or whatever they are called these days!) has real obstacles to overcome.
  7. A couple of concertos? There are Four Piano concerti (my late wife had the C minor in her repertoire!) , Three Violin Concerti as well as a Variations for Violin & orchestra, a 'cello concerto and a Clarinet concerto (an excellent recording by Thea King!)! There is also a 'concert Piece' for Organ & orchestra. I've always thought the best of Stanford was his Orchestral & Chamber Music. The Seven symphonies, particularly the, rarely performed, E flat symphony, are wonderful. There are Eight String quartets (recorded by the Dante quartet) and three Piano Trios as well as a host of other music. I looked at the 2nd 'cello sonata once - but never performed it as far as I can remember. I have a recollection of playing a trio for Clarinet, 'cello and Piano but can find no mention of it anywhere. However the pianist was the, late, great Harold Truscott and it may be that he had a score, and a set of parts, of it in that vast collection of, hardly ever played, or even known, works he kept in several cupboards!!! My objection to the Canticles in C isn't musical I hesitate to add. I'd be willing to bet that any cathedral organist would tell you that it is the singularly most submitted work for 'visiting choirs' at Evensong and usually comes wrapped up in a mediocre performance - which, of course, does not detract from the quality of the music!!
  8. No. 'Stopped' in Portugese is parado (parada). Cheio (cheia) means 'full' whilst aberto (aberta) is, indeed, 'open' But what the difference between a flautado di cheio (full flute) and a flautado di aberto (Open Flute) is, I'm not sure!!
  9. Only the other day I heard a performance of a well-known piece that was sung and played using a Victorian edition that had ceased to be plausible a very long time ago. I don't disagree with any of that and I know that, were I still running a busy choir, I would spend vast amounts of my time checking and rechecking that which I had downloaded, from wherever, was as historically accurate as possible and musical.
  10. Are you sure about that? I bought something on e-bay yesterday that said 15 available!!!
  11. I've tried to find it on e-bay - but without success!!
  12. When I was running a choir we rarely sang Evensong. But, once a month we would sing Vespers in the Abbey church. We sang a lot of Plainsong, with 18 men in the choir, a monastic tradition and a dull acoustic it seemed to be a good idea. We also sang the Psalms, accompanied by a very light organ, to 'Stanbrook Tones'. The Magnificat was always sing to a setting. A 'simple' setting might be Stanford: in B flat, Andreas: with fauxbourdons, Aston: in F, Hesford: 'Leicester Service', Causton, Vaughan Williams: in C, Dyson: in C min (unison), Tallis or Farrant. Bigger settings included Stanford: On Plainsong tones, Gordon Slater: in E flat. We sang Evensong in the local Cathedral four times and sang, the rarely performed, Kelly: for Magdalen College Oxford, a setting by Martin Doernberg with the composer present, Howells & Tippett: St. John's Cambridge The 'Responses' we sang to Plainsong or Smith - the four part version not the five - they weren't a part of our tradition and the Anthem would either be a setting of a Marian Anthem - Alma redemptoris mater, Ave Regina Caelorum, Regina Caeli or Salve Regina depending on the season or an Anthem suitable for the day or, if Benediction was to follow a setting of O Salutaris and Tantum Ergo. The introit would be a short anthem of the kind of: Tye: O come ye servants, Farrant: Hide not thou, or taken from a book of Introits by Eric Thiman. It is a long time ago and when I left I left behind a huge music library of 40 copies per piece! How much easier(and cheaper) it would be now to run a choir with vast amounts of music available free on Choral Wiki or the IMSLP library. Living where I do I miss the tradition of Evensong or even Vespers. I miss the majestic verse of Cramner's Prayer book (a friend of mine, an English graduate said it wasn't majestic - it was just old!!! - I don't agree!) During Lent we sang Compline at the end of the day - which was wonderful! To answer the question. We sang Vespers, in around 1989/90 for the local Organist's association. The programme was as follows: Before the Service: Bach Prelude and Fugue in A min. Introit: Sicut cervus - Palestrina Hymns: The God of Abraham praise (Leoni), Father, hear the prayer (Sussex) - both with fauxbourdon verses (SL) Psalms: Stanbrook Tones Magnificat: For Magdalen College Oxford - Kelly Marian Anthem: Salve Regina - Palestrina a 8 After the Service: Alleluyas - Simon Preston
  13. I'm afraid that, like Stanley with Corvedale (I quite like it by the way!!) I have an aversion to Stanford in C. It isn't musical and I freely admit that it is down to bigotry and prejudice! It's just that whenever a group of organists organise a joint service/festival or whatever they always want to sing Stanford in C. And ask any cathedral musician and I'll be willing to bet it comes top of the list of settings submitted by visiting choirs when singing Evensong at the local Cathedral. Stanley - I got my coat a long time ago!!!
  14. This is correct! I don't normally recommend Wikipedia but you can read about it here: https://en.wikipedia.org/wiki/Antidoron
  15. To my knowledge the organ hasn't received any paint! And any work to be done on the organ would come from a different department from any work to be done in the cathedral. Perhaps the orgue de choeur is still there - but I couldn't see it - I shall ask, if I remember, on Sunday when I revisit. Your book sounds wonderful and I would love to read it! Choir boys distributing the 'bread' from baskets is outside of my experience and you are right, it is, now, totally forbidden to keep the sacred host for consumption at a later time. Bur 'Papa' appearing in Cassock and Surplice with a trombone to accompany a minor office is classic!!!
  16. Following the resignation of Martin Baker at Westminster Cathedral there is bound to be speculation and rumour as to what is to happen next. And so I give the 'Chapter & Verse' from the Diocese so that that speculation and rumour is kept to a minimum!!! From Archbishop's House: The Diocese of Westminster is undertaking a strategic review of the role of sacred music in the mission of Westminster Cathedral. In a statement issue this morning the Diocese states: The musical tradition of Westminster Cathedral, in its excellence, constitutes a crucial and powerful part of the mission of the Cathedral. The Choir of Westminster Cathedral is recognised as one of the finest in the world. Since its foundation in 1901 it has occupied a unique and enviable position at the forefront of English church music, famous both for its distinctive continental sound and its repertoire. The review will consider the steps needed to strengthen the role played by sacred music, as well as the structures and clarity of roles required for the continued development of the contribution of music to the mission of the Cathedral, within the network of relationships between the Cathedral, its Music Department and Westminster Cathedral Choir School. A panel has been appointed to undertake this review over the next eight to 10 weeks, which will be completed by early April 2020. Members of the panel bring experience, knowledge and deep interest in the role of Westminster Cathedral and its great musical tradition. Commenting on this announcement, Cardinal Nichols said: "In welcoming this strategic review of the role of sacred music in the mission of Westminster Cathedral, I thank most sincerely those who are going to conduct it. They do so with my full confidence. "Our musical heritage is precious and this strategic review is an opportunity to strengthen this heritage and look forward to the next ten years with confidence." In addition to consulting with a number of post holders and external experts members may wish to approach, the panel welcomes submissions from interested parties. These submissions should be made in writing by 17th February 2020, by email to strategicreview@rcdow.org.uk or by post to Strategic Review Panel, Vaughan House, 46 Francis Street, London SW1P 1QN. Full Details of the Strategic Review can be found here: https://www.indcatholicnews.com/news/38756 and: The Panel will receive written comments and submissions from any interested parties, until Monday 17th February 2020
  17. I can't answer that because I can't remember what it was like before!! The place, of course, is vast, it is enormous! And the restoration is hugely controversial! My first encounter with the restoration was when my daughter travelled to see me about four years ago, stopping at Chartres on her way down here. "English Heritage would have a fit!!" she said. And she is right. The choir looks totally amazing but I'm not sure it is in keeping with a medieval cathedral or with restoration techniques as understood in the UK. The external part of the choir, the stone carved scenes, are nearly finished and seem to be being painted rather than having the grim and dirt blasted off! I may be wrong here! Of course the French do paint on top of stone. I know of another 'World Heritage site' where the walls have been plastered and red lines painted on to simulate the edges of stone!! True - imagine English Heritage allowing this! As to the acoustics! The place is noisy. Dr. Colin has mentioned the very different attitude of continentals towards ecclesiastics. There are signs asking the public not to walk around during services but they are, largely, ignored! The Grande Messe is celebrated from the Nave Altar under the central space at the crossing. The choir sit in the choir. The orgue de Choeur which, of course, would traditionally accompany them, doesn't seem to exist any more. I remember pcnd, and if I have got this wrong I apologise to him, being quite vitriolic about the instrument. I think he described it as the worst instrument he had ever played! All accompaniment comes from the Grande Orgue which hangs high on the south wall of the nave just by the crossing. The organist sits inside the instrument. I can't imagine what, if anything, he can hear up there but he has an array of TV cameras to assist him. Even accompanying plainsong could be a problem and also hymns too without considerable expertise of the instrument and knowing the acoustics of the building. Accompanying, for instance, a Mozart Mass, would, I imagine, be next to impossible. Nothing in my musicianship tells me how it could be successfully done! For those interested there are a number of YouTube videos of Patrick Delabre, the titulaire, talking (in French!) and playing the instrument he has presided over since 1986. I return to my home on the 26th and have an invitation to spend the 'Grand Messe' in the tribune that morning. Perhaps I can better answer your question, somechap, then!
  18. I drove from my home to the UK and decided to do the long journey through France in two stages stopping at Chartres on the way. After a cheap hotel and an excellent meal we found ourselves in the Cathedral for the 'Grand Messe' at 11h00. Years ago I was there and attended both the Mass sung to Gregorian chant at 09h00 and the 11h00. It had been a pretty torrid experience and, in truth, I wasn't expecting that a lot had changed. Prior to the 11h00 Mass I had coffee with the titulaire opposite the cathedral and, just prior to 11h00, found myself in my usual place in church - on the left hand side about 6 rows from the front. There seemed to be hardly anyone there but it soon filled up. A procession of robed young people and adults made their way into the choir whilst Patrick Delabre improvised on the Grande orgue on the hymn 'Il est ne le Divin enfant' which began the celebration. The Bishop of Chartres celebrated. He is a very tall man and, complete with mitre must have been over eight feet tall!!! Clouds of smoke bellowed from the thurible and even the altar boys seemed to know what they were doing (all rather different from the last visit when my second son remarked that, had he been the celebrant, he would have "stuck his boot around that altar boys ****"!!!). The Bishop sang, slightly hesitantly and the choir of young people and adults, singing in four real parts, made a splendid sound - helped, of course, by an amazingly generous acoustic! The organ improvisations at the gospel procession (with alleluias fitting to the first line of the tune Forest Green!) and at the offertory, and during communion, were understated and totally amazing! I am used to wonderful improvisations from my time in Birmingham and these were equally as good. The Grande orgue sounded magnificent and accompanied the whole Mass. Seemingly the orgue de choeur, that I remember our member pcnd hated so much, has been removed during the renovations of the choir. And, at the end of Mass we had a French hymn to the tune Adeste fideles - complete with Willcocks descant that was thundered out by the top line of the choir! - followed by an improvisation on the tune! If you're passing I would recommend it! It's not an English cathedral - it's very French - but I came out of church feeling a lot better than when I went in!! What will I remember in six months time - the power of the descants and the organ improvisations - oh, and the eight foot tall Bishop!!!! http://orguesfrance.com/ChartresCathedrale.html
  19. At the risk of boring everyone but as a memory of a story told by the late David Drinkell, who, I'm sure we all miss on the boards, I give the much repeated story. 'The difference between an organist and a terrorist - you can negotiate with a terrorist!!!' And, from a tiny little village in the South West of France, 'Yuletide felicitations' to you Stanley and to all members of the board.
  20. Merbecke, I think, is beautiful and, just because it was written in 1550 doesn't mean that it isn't still appropriate. I've used it on the, very rare, occasions I have worked in the C of E. I find Dom Gregory Murray wearing, especially if you use all of it at once! I get fed up of hearing the same phrases over and over again. Is the Appleford a re-write of the Mass of Five Melodies? - in which case I suspect, and I don't know it, that it could, easily, become, like Dom Gregory, a little wearing! And your new Parish Priest? is it a request or a demand? There is a lot of good stuff out there (and a lot of drivel as well!) and it is worth buying some single copies and trying to educate your Priest with them? He may, very well, be wanting to use Appleford because it is all he knows! Have you thought of writing your own? I had a request, a few years ago, from a Parish in the West Midlands to write a setting "similar to Dom Gregory Murray" - in other words based on repeated phrases. I produced three settings, one major, one minor and the other modal which the parish use on alternative months, I think, with the one setting sans Gloria for use during Lent and Advent. Tell me I'm being arrogant, if you like, but I think what I produced was a good deal more musical that Dom Gregory! Do Parishes sing the same Mass setting week after week? I couldn't cope with that! Don't the congregation get bored with the same music week after week? I would!!
  21. Nothing spectacular I'm afraid but nothing spectacular to play on and I rarely play! Before Mass we observe silence and the Midnight began with the Nuns singing the introit Dominus dixit ad me accompanied by a very light organ!! The Mass setting was Mass IV, again lightly accompanied, Cunctipotens Genitor Deus with Credo III. During the offertory I played Bach Gelobet seist du, Jesu Christ BWV697 (In Bach's time, in Leipzig, it was the hymn for the day) Afterwards I played the Daquin Noel X. The Mass of the day began with the Nuns singing the introit Puer Natus est nobis, again accompanied. The Mass setting was in French, written by one of the sisters and unaccompanied. The Creed was sung, again in French, to a setting by Naji Hakim and, during the offertory, the Nuns sang a French version of In Dulci Jubilo. After Mass, I played the Bach version BWV 608. As I said - I rarely play!! It was an interesting experience - for me and the good sisters!!!
  22. Oh dear!! Many apologies - I had forgotten about the other thread - and I made a contribution too! Must be getting old!!
  23. I used to know this church quite well and, trawling the Internet, I see they are having a new four manual Skrabi organ. I thought members might be interested and so the stop list I give below: PÉDALE (32 notes) Soubasse 32 Contrebasse 16 Principal 16 Bourdon 16 Prestant 8 Flûte 8 Octave 4 Contre Bombarde 32 Bombarde 16 Trompette 8 I: GRAND ORGUE (61 notes) Bourdon 16 Montre 8 Diapason 8 Bourdon 8 Flûte harmonique 8 Prestant 4 Flûte 4 Octave 2 Trompette 8 Clairon 4 Quinte 2 2/3 Fourniture IV Recit - Grand Orgue 16 Grand Orgue 16 Grand Orgue 4 Grand Orgue annulation 8 II: POSITIF (61 notes) Diapason 8 Bourdon 8 Rhorflûte 8 Viole de gambe 8 Voix céleste 8 Octave 4 Bourdon 4 Octave 2 Dulciane 8 Quinte 2 2/3 Tierce 1 3/5 Trémolo Positif Positif 16 Positif 4 Positif annulation 8 III: RÉCIT EXPRESSIF (61 notes) Bourdon 16 Diapason 8 Bourdon 8 Violoncelle 8 Voix angélique 8 Flûte ouverte 4 Nazard 2 2/3 Octavin 2 Hautbois 16 Trompette 8 Hautbois 8 Voix humaine 8 Clairon 4 Plein jeu IV Trémolo Récit Récit 16 Récit 4 Récit annulation 8 IV: BOMBARDE (61 notes) Flûte traversière 8 Flûte traversière 4 Trompette Pontificale 16 Trompette Pontificale 8 Trompette Pontificale 4 TIRASSES Tirasse Grand Orgue Tirasse Positif Tirasse Récit Expressif Tirasse Bombarde ACCOUPLEMENTS Positif - Grand Orgue Récit - Grand Orgue Bombarde - Grand Orgue Récit - Positif Bombarde - Positif Bombarde - Recit Grand Orgue - Bombarde ACCESSORIES Tutti I Tutti II Divisional pistons 1 - 10 General pistons 1 - 10 (to 999) Stepper Pedal divide
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