S_L
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Posts posted by S_L
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1 hour ago, Dr Nigel H Day said:
I hope the HR folk have made 100% certain her work permit is permanent (not my area, just a comment).
One would hope so. I seem to remember a clause/comment in the advert mentioning permission to work, permanently, in the UK.
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1 hour ago, David Cynan Jones said:
HR must surely know something we don't.
I would think they probably do!!!!
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10 hours ago, AndrewG said:
One of the first Proms at the RAH I went to had Jessye Norman as soloist in Beethoven 9. She had absolutely no trouble being heard over a full orchestra and a massive choir. No mic needed.
It is still one of the most incredible musical performances I have ever heard. As a teenager it made me fall in love with live (and affordable) classical music.
Jessye Norman - what a voice!!!!
12th of September 1986!! - with Georg Solti and the LPO
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3 hours ago, Hebridean said:
I am assuming that S_L's performance was not being broadcast ...
I'm not sure why you should assume that but you are correct!! It was not broadcast but it was, however, recorded!!
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3 hours ago, innate said:
What instrument were you playing with an orchestra in the RAH?
As an organist I am a rank amateur, a very poor ARCO standard! I began my life as a 'cellist - I played in the AH twice - once the Elgar concerto and, once the 1st Shostakovich concerto. A long time ago!
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3 hours ago, innate said:
............... we are just being naturally reluctant to accept new technology.
Sorry to disagree!
But it isn't new technology. As far as I can see it is actually very old technology!! (I expect to corrected by Dr. C here!!) 'Pop' musicians have been attaching microphones to their faces since 'Pop musicians' and microphones were invented!! It was 1968/9 but I have played, as the soloist, a concerto in the Albert Hall with a orchestra of 70+ musicians behind me. I wasn't 'miked up' and I can't understand why a singer should need it either!!
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15 hours ago, Barry Oakley said:
When you have seen one you have seen them all.
This is very true but, when you live in a remote area of S.W. France, it's rather like listening to Vaughan Williams - it makes you think of home!!
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I watched it too! I'm getting a bit fed up of society pandering to the 'celebrity' culture. I bemoaned several aspects of the 'service' at RAH on Saturday evening, not least the lack of a contribution by established composers as mentioned by Martin above. I have to say that I thought some of the performances were very good indeed but, and I'm sure that Dr. Colin, will berate me for this, why do they have to have microphones almost attached to their faces - or is it because they don't know what to do with their hands!! It was a shame that, in one piece, the singer, who could make plenty of sound anyway, had the assistance of a microphone whereas the 'cellist didn't! And I couldn't hear the 'cellist! I've played in the RAH dozens of times and I don't understand the need for microphones for a soloist.
I often wonder what the King, who is a cultured man, even a not very good 'cellist, must think of it all! But 'jo-public' seems to like it - which I find a little worrying!! But that is another discussion altogether!
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On 30/10/2023 at 08:37, father-willis said:
Well I'm going to have a go. This is but one solution which attempts to right all wrongs of previous instruments in one(!!)
The old cases will contain what will be called the "Harris Great" and will use all of the remaining case pipes.
Although the case is to remain where it is there will be no "Grand Chorus" or "Nave Great" etc within it destroying its integrity.
The "Restoration Chaire" case to remain with a light tracker action to allow for sensitive playing.
On the south side of the Quire, behind the canopied stalls will sit the ""Willis Cathedral Great". Uncased with bare zinc bases (again for authenticity) this is voiced to be able to fulfill the needs of choir accompaniment (essential) and can, with ease, be used in recital filling the cathedral with sound - if the stops are carefully and tastefully selected.
It being considered that the backwards protrusion of a beige painted swell box (colour selected to blend with the surrounding stone) into the south transept would be ungainly, the "Anglican Accompanimental (Specialist Psalm) Swell" will be placed as close as convenient to the player in the south quire triforium. The artful voicing of this division, though not large, will allow for the registering of many schools of music if stop combinations are chosen with care. It can also play and accompany choral music of other denominations. It has been suggested that this division be renamed the "Ecumenical Swell".
In the north quire triforium will be placed the "Ethereal Solo & I Set The Pace Chorus" together with the bulk of the pedal.
The Harris Great and Restoration Chaire to be played from a console en fenetre to the main case with chaire behind. Great on direct electric action to energise the speach by explosive attack to each pipe (and the whole division) overcoming any defects/alterations of/to these pipes, and in the large acoustic sound nice and "baroque".
Harris Great, CCC ie 16' - F in alt. Wind pressure 2 1/2" wg- Diapasons, East Diapason, West Diapason, Stopt Diapason, Principall, Principall, Twelfth, Fifteenth, Tierce, Furniture, Cimball, Trumpet, Clarion.
Restoration Chaire, CC ie 8' - F in alt. (2 1/2") - Stopt Diapason, Principall, Nason, Fifteenth, Two and Twenty, Cremona
Willis Cathedral Great (Flues & 16' reed: 4", 8' & 4' reeds 7") - Double Open Diapason 16, Cathedral Filling Diapason 8, Open Diapason 8, Open Diapason 8, Claribel 8, Cathedral Principal 4, Principal, Flute Harmonique 4, Twelfth 2 2/3, Piccolo 2, Fifteenth 2, Fourniture III, Mixture III, Trombone 16, Tromba 4, Clarion4.
Anglican Accompanimental (Specialist Psalm) Swell Stops marked with * enclosed within a secondary inner swell box - Lieblich Bourdon 16, **Contra Salicional 16, Open Diapason, Geigen Diapason, Lieblich Gedackt 8, *Hohl Flute 8, Salicional 8, Vox Angelica 8, Geigen Principal 4, *Gemshorn 4, Lieblich Flute 4, Flageolet 2, Sesquialtera III, *Contra Oboe 16, Double Trumpet 16, Cornopean 8, *Horn 8, Hautboy 8, *Vox Humana 8, Clarion 4.
Ethereal Solo (enclosed, facing south) & I Set The Pace Chorus (unenclosed, facing west) - Quintaton 16, Contra Dulciana 16, Flute Harmonique 8, Doppelzauber Flute Triangulaire 8, Bearded Gamba 8, Shaven Celeste 8 (2rks, keen), Flute 4, Praetorius Rankett 16, Orchestral Clarinet 8, Saxophone 8, Unenclosed - Diapason Phonon 8, Large Prinicpal 4, Nazard, Harmonic Piccolo 2, Tierce 1 3/5, Larigot 1 1/3, Pace Chorus XXVI rks, Bombarde 16, Trompette Harmonique 8, Ecclesial Tuba Magnificenta Superba 8
Pedal (North Trforium) - Sequoiadendron Giganteum 32 - (Wood, One hollowed out Giant Redwood), Open Wood I (Oak) 16, Open Wood II (Chipboard) 16, Violone 16(metal, keenly voiced to allow transmission of tone southwards to be a bass to south divisions), Echo Harmonic Stopped Doppel Pentabourdon (five sided) 16, Violoncello 8, Bass Flute 8, Fifteenth 4, Harmonic Twig 2, Contra Saxophone 32 (enclosed), Lieblich Bombard 32, Trombone 16,
Console detached and set in a convenient place among the choir stalls. All divisions except the Restoraion Chaire controlled from this console.
This is not, perhaps, the ideal or perfect solution to Gloucester's organic woes but I believe it to solves many of the criticisms that have bedevilled this place for some time.
Please comment 😁
😁😁😁😁 - Most amusing!!!!
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Interesting article in 'The Times' today about a rescued organ in Istanbul together with the usual slight journalist inaccuracies!!! Good to see the recitals have an enthusiastic audience!!
Soothing strains of church organ music float into an Istanbul evening (thetimes.co.uk)
And a Recording:
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I've never heard of Thuille but, for an early work, the Organ Sonata seems remarkably assured. I did look at the score of the much later Op. 22 'Cello Sonata with its appealing melodies. Thirty odd years ago I would have got that under my belt. The string quartet looks good too!
He seems to have been a prolific teacher. I noted that he was the teacher of Walter Spalding who had the distinction, or otherwise, of teaching Leroy Anderson! His Harmonielehre seems to have been used, a bit like Fux, to persecute young music undergraduates in German/Austrian music conservatoires! I did notice, in the brief biography I found, no mention of the Organ Sonata!!!
Several of his works are recorded and are available. As mentioned above the Sextet has always had a certain popularity.
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1 hour ago, michaelwilson said:
I'm surprised that I haven't seen an advert for Christ Church Oxford yet. Perhaps they are considering making changes to the job description.
There are quite a number of changes taking place at Christ Church Oxford including, I understand, the separation of Cathedral and University appointments following recent difficulties.
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4 hours ago, Andrew Butler said:
Depends on the occasion - Easter Day and a Thursday evening in November are totally different.....
I wonder when you last played for Evensong!! Or do you sing Vespers in your neck of the woods? We have Vespers every Sunday evening - it begins with silence!
I also wonder how many on here actually get to play for Evensong on a regular basis. Cathedrals and the Greater Churches still follow the tradition although I know of one Cathedral that sings 'Shortened' Evensong (not sure what that is!). Is Evensong still prevalent in Parish churches? Or is it just a distant, longed for, memory to most players?
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I must admit to being rather spellbound hearing the piece at the end of the service for the installation of David Monteith as Dean of Canterbury. It was certainly a talking point and, at the time, and now, seemed highly appropriate.
The composer and title wasn't acknowledged on the programme which is a shame. I do notice that, apart from the sung Sunday morning Mass, the organ voluntary is rarely given in the Order of Music for the month.
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1 hour ago, Martin Cooke said:
Well, this 'pronunciation of Hele' thread has certainly grown legs!
In the very best traditions of the board!!!
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11 hours ago, Rowland Wateridge said:
This time I rely on Roy Massey!
I hope this doesn't cause any offence, it, certainly isn't meant to!!
I went to an Organ Recital given by Roy Massey quite a few years ago, when he was still at Hereford. I won't say where the recital was! It consisted of quite a number of shorter pieces along with a couple of 'bigger' pieces, something flashy with a lot of notes and something to get your teeth into. The church was full and Roy talked about each piece, in his own inimitable style, before playing it. I have to say he played a lot of wrong notes but it was one of the very best recitals I have ever been to. It was good humoured, Roy tells a good yarn!, and the music was mostly approachable and that which might have been a little difficult for some was preceded by a story and was short.
I bumped into Roy years later in Tewksbury Abbey. He was his old inimitable self, hugely gracious and, again, with a good yarn to tell. We chatted for what seemed ages and I mentioned the recital I had heard and he grinned "I bet I played a lot of wrong notes!". I was pleased to be able to tell him how much I had enjoyed the programme - and agreed with him about the wrong notes!!!
I remember thinking that if all organ recitals were like this more people might appreciate the instrument more!
"The third movement of this piece is very suitable for weddings and funerals - you just play it slower at funerals!!" (any suggestions?)
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8 hours ago, peterdoughty said:
The reason I'm posting this is simply because, in the brief amount of poking around I've done online, I've found a 1960s church, Hald Ege Kirke, with a rather spare and beautiful design, housing a quirky little organ of five stops whose pedal pipes wrap around either side and partially enclose the console. (That link will hopefully show you a photo of the instrument and allow you to browse more pics of the church itself. I am not a churchgoer but I love the flavour of the place.) And I thought, hmm, I wonder if they'd like to see it on the Mander forum? So here we are.
I thought that to be stunningly beautiful - and very Danish! Many thanks for posting it!
I've always thought the Danish people to be remarkably civilised. I don't know Denmark very well but I was in Aarhaus the day of Her Majesties death last year. The Queen of the Danes, Margrethe II, graciously allowed the UK National Anthem to be played before a concert there!
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6 hours ago, Colin Pykett said:
They will both have an effective publicity machine behind them which will be gleefully counting their web clicks and sifting their cookie data as we speak, as well as schooling them on what to say when next interviewed.
O dear Dr. Colin, you have left me feeling totally inadequate - yet again! I understand the beginning of the sentence - and the end - but the middle leaves me completely confused!!
Web clicks? - sifting cookie data?
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I met Gordon Phillips in the early 70's, one day after a recital her gave at All Hallows by the Tower. I'm told that his Postlude for a Festival is eminently playable but, I think, there is also a big Sonata. As far as I know his compositional output is entirely for organ.
There is a Gordon Phillips Society who may be able to point you in the direction of his other music. He, too it would appear, was influenced into playing the organ by hearing Vierne, in Nottingham, play the Widor Toccata
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17 hours ago, peterdoughty said:
I hadn't noticed any animus from people on this forum towards Cameron Carpenter so far - perhaps it's been removed?
It was removed! However, it has to be said that the, very unfortunate, homophobic implying, comments were made by members who are no longer here (read into that what you will!!!) and who no longer post.
As far as I am concerned Anna Lapwood and Cameron Carpenter are breaths of fresh air that this instrument has needed for a very long time - and there are others too!
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10 hours ago, peterdoughty said:
I would have commented on Anna Lapwood at the Proms, but really, as my formal musical education is limited, all I could really have thought of saying was 'cor blimey, I love the programme and the registration and she had everything going at the end!' and I doubt anyone'd thank me for that, which is why I just didn't say anything
'Cor blimey' would have been great! Don't be intimidated by the 'stuck in the past' set on here - although, it has to be said, there are a lot less than there used to be!!!
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23 hours ago, handsoff said:
I'm sorry to disappoint S_L but I no longer have a motorbike.
I still keep a Morris Minor in good condition for dry days and holidays so maintain a link to the days of more basic motoring.
I don't use my bike often - it has to be a really nice day! It amuses the Nuns when I arrive, in jeans and leather jacket (I change!), to play the organ for the morning Mass.
I also have a 20 year old MGF as well as a more sensible four wheeled mode of transport!!!
Some of us just never grow up!!!
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I'm so pleased that you are starting to get somewhere!!
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I blame my Grandmother or my late wife – in equal quantities!!
I was born in the East Riding of Yorkshire but, on the death of my father, moved to live on the Scottish Island of Eigg with my grandparents. Gran came from Yorkshire and, I think, had been quite a player in her day. She was a Primitive Methodist who, as a girl, had accompanied the local preachers around the East Riding playing the harmonium in the chapels on a Sunday. Certainly they thought enough of her playing to ask her to play the Hull City Hall organ for the big Methodist revival meetings they held in the 1930's. And she occasionally deputized at Holy Trinity - a Methodist and a woman!!! How she and my grandfather found themselves on Eigg I’m not sure. There were no organs on the island but we had a piano and, from a very early age my grandmother taught me to play hymn tunes – of the Primitive Methodist/Methodist variety! Even today I love a good strong hymn tune. I had two years of school on Eigg and, when I was six or seven we came back to England and I went to school in East Yorkshire. One day Peter Fletcher, the organist of Beverley Minster, came into the classroom and asked who would like to play the ‘cello. I didn’t know what one was, but I was the kind of annoying child who would put his hand up for everything. And so it started. I also used to go to chapel on Sunday, often twice. The Chapel in question had a large two manual organ built by Hopkins of York. It was played by a man called Geoff Lightfoot who encouraged me to play and would let me stay in the chapel after morning service, making horrendous noises, as long as I locked the door when I left! I’ve never been much of a keyboard player but it, very slowly, got better.
But my ‘cello playing improved by leaps and bounds encouraged by wonderful teachers. I joined a little orchestra and, eventually the local Youth orchestra and did my grade VIII when I was 12. I got a distinction (142!). I did ARCM (Performers), at 16, went to the National Youth orchestra, played string quartets, and was constantly told how I was going to go to the Royal College of Music which, eventually, I did. I remembered the book ‘How to bluff your way in music’. It said, ‘Organists are a strange race!!!’ – and I kept away from them! After two years I went up to Cambridge and the rest, sort of, is history. I read one degree and then another, played concerti in concert halls all over Europe including the Shostakovitch concerto (there was only one in those days) in the presence of the composer. Eventually I decided enough was enough, noticed a few problems with my hands and settled down to a quiet life in academia. I wrote a Ph.D.
So, why blame my late wife? We met at Cambridge. By this time I had veered away from Methodism and, largely due to my time in London, had become a High-Church Anglican of the 'smells and bells' variety. My late wife was a Roman Catholic and I seceded to Rome which, at first, was a huge disappointment. We married and, on Sunday morning, I found myself in the pews at Mass. I, frequently, came out more angry than I went in, usually complaining about the ‘idiot on the keys’ or ‘that damned choir’. Eventually, herself got totally fed up and said, “if you think you can do any better, do it yourself!!!” By complete coincidence a job came up at a local Catholic Abbey church and I was appointed – I don’t think there were any other candidates! My organ playing improved dramatically and the choir expanded and were great fun. We sang in our tiny little abbey, and were well known in all the local pubs, and we visited all over the place. We were frequent visitors to the ‘Met’ in Liverpool and to both Cathedrals in Birmingham. We had singing tours abroad – to Paris - twice (St Etienne du Mont, a Sorbonne chapel and Notre Dame) and to Rome (St. Paul outside the walls, San Clemente, St. Peter’s and the Cathedral in Palestrina where we sang a Palestrina Mass) It was great fun while it lasted.
Herself was sick for eleven years, I retired to nurse her but she died and I came to retire to France. I don’t play the ‘cello anymore but, rather frighteningly, I am known in the area as an organist and play at a large monastery in the Dordogne, usually once or twice a month and on Great Days.
'Andrew Butler' and I live about 50 miles from each other, but we have never met. I’m happy, in the light of his post, to tell him that this organist (?) in the Dordogne does get paid!! And. like 'Handsoff' I still have a motorbike and the leathers to go with it!!!
Rev. Tony Newnham
in General discussion
Posted
I read, in another place, of the death of Rev Tony Newnham, a member of this board.
May he rest in peace.